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DICTIONARY
OF
PAINTERS AND ENGRAVERS,
BIOGRAPHICAL AND CRITICAL,
BY
MICHAEL BRYAN.
NEW EDITION, REVISED AND ENLARGED,
EDITED BY
WALTER ARMSTRONG, B.A. Oxon..
AUTHOR OF " SCOITISH PAINTERS" AND "PETER DE WINT,"
AND
ROBERT EDMUND GRAVES
OF THE BRITTSH MUSEUM.
VOLUME II : L— Z.
LONDON: GEORGE BELL AND SONS,
4, YORK STREET, COVENT GARDEN. <v'^
1889. •^. , .,i\\
-if ,
/.; f (J
A. H5"\^ 5"
iUNIVERSfTYl
LSBRARV^'
^^
3^1 +
V. 5l
Richard Clay & Sons, Limited,
London & Bungay.
CII^<3?~c=rO_J
1^3.
BRYAN'S DICTIONARY
OF
PAINTERS AND ENGRAVERS.
VOL. II.
PEEFACE.
FOE the present edition of Bryan's " Dictionary of P&inters and Engravers," the two editors
thus divide the responsibility : for the general form of the -work, as well as the whole
of the first volume and the letter L in the second volume, Mr. E. E. Graves is responsible ;
for the rest, Mr. Walter Armstrong.
Since the appearance of the last edition in 1849, the development of connoisseurship, chiefly
through the help of photography; and the publication of many valuable works on art and
I artists, embodying the results of careful research among city records, guild books, and church
registers, particularly in Italy and in the Netherlands, has furnished much new material for
i|!,' the correction and enlargement of such a dictionary as this. More especially are the Editors
indebted to the invaluable works of Messrs. Crowe and Cavalcaselle, Burckhardt, Milanesi, and
Morelli on the Italian painters, of Messrs. Crowe and Cavalcaselle, Weale, Bredius, Bode and
Kramm on Flemish and Dutch art, and of the late Sir William Stirling Maxwell and D.
Pedro de Madrazo, on the artists of Spain.
Dealing, as a dictionary does, with facts rather than with criticism, the labours of preceding
writers must necessarily be used with a frequency which makes special acknowledgment in
every case impossible, but the Editors trust they will not be found to have placed themselves
under any obligations that may not be frankly acknowledged.
Besides the addition of a large number of names, new authority has been given to every one
of the old entries by a careful revision, and in most instances by important changes. In several
cases the notices have been supplied by contributors specially qualified for the task ; a list of
these, with their distinguishing initials, is given below.
Among the improvements is a more scientific arrangement of the names, of which the
foUowing is the plan : —
PBEPACE..
I. Every artist having a surname is placed under that surname. Assumed
names and sobriquets are given in cross-reference when needed.
e. g. The artist commonly Icnown as —
Correggio will he found under ... Alleqei, Antonio
Giorgione „ „ ... Barbaeblli, Giorgio
Pinturicchio „ „ ... Biagio, Bernardino
Sebastiano del Piombo „ ... Luoiani, Sebastiano
Tintoretto „ „ ... Eobusti, Jaoopo
Titian „ ,, ... Vboebli, Tiziano
(a) When the prefix to a name is an aeticle it is retained, because it is an integral
part of the name; but when a preposition it is rejected. Thus, the French Le
and La, the Spanish Los and Las, and the Dutch and Flemish De are accepted ;
while the I^ench de, the Italian da and di, the German von, and the Dutch van
are rejected.
e.g. OhaxlQs'LQ'&rmi will he found under ... Le Bedn, Charles
Jan David De Heem ,, ,, ... De Heem, Jan David
Jean Francois de Troy ,, ,, ... Tkot, Jean Franjois de
Heinrioh von Hess ,, ,, ... Hess, Heinrich von
Isaac van Ostade „ ,, ... Ostadb, Isaac van
(6) When an article is joined to or preceded by a preposition, as in the French du,
de la, and des, the Italian del, della, dai, dalle, and degli, the Spanish del and de la,
the Portuguese dal, and the Dutch Van de and Van der, they are together treated as
an article : for, in order to retain the article, we are forced to retain the preposition
as well.
e. g. Alphonse du Fresnoy will he found under Du Feesnoy, Alphonse
Laurent de La Hire ,, ,, ... De La Hike, Laurent
Niccol6 deir Abbate ,, ,, ... Dell' Abbate, Niccol6
Alonso del Baroo ,, ,, ... Del Barco, Alonso
Willem van de.Velde ,, ,, ... Van de Velde, Willem
(c) English artists hearing foreign names are placed under the prefix whether it be a
preposition or not.
e. g. 7ster 1)6 ^mt will he found under ... De Wint, Peter
{d) Proper names with the prefix St. are placed as though the word were written in full,
Saint ; and M' and M" are arranged as Mac.
(e) Foreign compound names are arranged under the first name.
e.g. 'B3.-pt\st& kuhvy-lif^comi^ will he found under Aubrt-Lbcomte, Baptiste
Juan Cano de Arevalo ,, ,, „ Cano de Aeevalo, Juan
II. An artist having no surname is placed under the name of the place from which
he is known.
e.g. A.rAxta.di&'&olognvi, will he found under ... Bologna, Andrea da
PREFACE.
Or, failing that, under his own Christian name.
0. g. Andrea del Sarto will he found under
Fra Bartolommeo ,, „ „
Andkea d'Agnolo
Baetolommeo di Pagholo
in. Anonymous artists known as the Master of the Grab, the Master of the Die, the
Master of the Bat-trap, will be found under the common title of Master.
GONTBIBUTOBS OF INITIALED ABTIGLES.
W. A.
Walter Armstrong.
0. J. D.
0. J. DuUea.
B. E. G. ...
Robert Edmund Graves.
M.M. H. ...
Mary M. Heaton.
J. P. R.
J. P. Eichter.
W. B. S. ...
William Bell Scott.
P. S.
Florence Simmonds.
COEEIGENDA.
VOLUME II.
Page 20, under LAPO, Tomm. di. At end add See
also GlOTTINO.
LEUX,/or LuTX read Luycx.
LOVELL, Peregrine, for 16th
read 17th.
MACEDO, for Clovis read Clovio.
MAES, Jan Baptist, fm- MAES,
Jan Baptist, read MAES, Jan
Baptist Lodewtk.
Do. AfUr from 1821 to 1826 read
He died at Rome in 1856.
MAES-CANNmi,/o?- MABS-CAN-
NINI, Jan Baptist Lodewye,
read MAES, Canini.
Do. i^or born at Ghent in 1794 read
born at Ghent about the middle
of the 18th century.
Do. For He died at Rome in 1856
read He settled in Italy, where he
died.
MAtTRE ROUX, for DE' ROSSI,
Rosso, read Dei Rossi.
MARNE. Add [Supplement].
Delete article, Maetis, Ottaviano.
MASTER OF the CANDLESTICK,
for HoPFEB, Jan, read Hopfbe,
Daniel, Hibeonymus, and Lam-
bert.
MATHAM, Theodor, for born at
Haarlem in 1569 read born at
Haarlem 1606.
Do. For He died about 1677 read
He died in 1660.
MAZZOCCHI,/oj- Doni, Paolo, read
DoNO, Paolo di.
MEER, for Johannes (of Utrecht)
and N.,see Van dee Mebe; JAN(of
Delft), see Vee Mebb ; Geeaed
and Jan the younger (of Ghent
and of Haarlem), read: and N.,
Bee Van dee Mbee; Jan (of
Delft), see Vbe Mebe ; Geeard
and Jan (both of Ghent).
MELLAN, for born at Abbeville
about 1601 read born at Abbe-
ville about 1598.
MONT, for See Dblmont read See
Van der Mont.
MOUOHEEON, Feedbeik,/o?- bom
49,
80,
93,
93,
93,
93,
93,
96,
110,
115,
121,
123,
123,
127,
131,
135,
166,
181,
Page 181, under
214,
.£iJ.O,
))
218,
n
259,
})
263,
5)
278,
J3
390,
397,
401,
»
426,
429,
»)
442,
>J
443,
475,
))
481,
J>
496,
»
528,
)>
529,
Jl
535,
)J
689,
at Embden in 1663 read bom at
Embden in 1633 or 1634.
Do. ifbr The year ofhis death is not
known, but there is a picture by
him at Dresden with the date
1713 upon it, read He died at
Amsterdam, where he was buried
January 5, 1686.
NONZIO, for 18th century read
16th century.
NUTI, for under Maeini, Ant. read
Supplement.
NUTSCHIDEL, for Netifchatbl
read Neuchatel.
PATAVINUS,/or See Otbllo reoti
See Osello.
PAUTRE, for Lepauteb read Le
Paultee.
PETHER, Abr. Delete the son of
William Pether.
Delete cross reference, ROBERTO da
CIVITELLA, see Eobeetus.
Delete cross reference, EODERIGO,
see SiciLiANi.
ROMANO, ViNCENzo, for Ariemolo
read Aniemolo.
RUET,/or Dbevbt read Deeuet.
Delete cross reference,^VSSl, Fban-
co db', see Ceivelli, Taddbo de'.
SAL VIATINO, /or Rossi read Dbi
Eossi.
Delete cross reference, SAMMI-
CHELI, see San Micheli.
SCHONGAUER, Martin. Add at
end of article, Martin's brother
LuDWiG was also an engraver.
SCIAMERONI, for Filippo read
Feanoesco.
SIEGERT, after dioramas read He
died in 1883.
STEEVENS, for Stibvbns read
Stevens.
STEFANO, ToMM., for Stefano
read Di Stefano, and after 1356
add See also Giottino.
STIMMER, JoHANN Cheistoph.
At end add See also Lb Suisse.
Transfer Teoso da Monza to p. 587.
BIOGEAPHICAL DIOTIONAEY
PAINTEES AND ENGEAYEES.
LAAK, Maeia van dee. See Van deb Laak.
LAAN, Van dee. See Van dee Laan.
LAAR, J. 0. VAN, the youngest brother of Pieter
van Laar, ia said to have accompanied his brother
to Italy, and to have perished by falling into a moun-
tain torrent while crossing a bridge near Rome.
LAAR, Pietee van, called Bamboccio and Sntif-
FELAEE, was born at Haarlem, in 1682. His
parents were in easy circumstances, and so were
able to indulge the inclination which he early
showed for art, by having him instructed in the
elements of design by Jan van Campen, and after-'
wards by Adam Elsheiraer. He went when young
to Italy, and resided for sixteen years in Rome,
where he was distinguished by the uncommon
vivacity of his genius and the amiability of his
disposition. He lived in habits of intimacy with
Nicolas Poussin, Claude Lorrain, and Sandrart, in
whose company he made drawings of the most
interesting monuments, in the neighbourhood of
Rome. These studies were of use to him in the
composition of his pictures, as forming the back-
grounds. He acquired the name of ' Bamboccio '
most probably from his usually painting such sub-
jects as the Italians call ' bambocciate,' sach as
fairs, rural festivals, huntings, and masquerades,
rather than from any deformity of his body. In
1639 he left Rome and settled at Haarlem, where
his pictures were not less admired than in Italy.
His works are scarce, and are deservedly held in
high repute. He died at Haarlem in 1642. The
following paintings by him are in European gal-
leries :
Brunswick. Museum. Scene before a Tavern.
Cassel. Gallery. A Quack Doctor.
„ „ Italian Peasants dancing.
Dresden. Gallery. Italian Peasants.
Florence. Uffizi. His own Portrait.
Dlunich. Gallery. Two Horses in a Stall.
„ „ Italian Porters playing under
the wall of a Fortress^
Louvre. The Departure.
„ The Shepherds.
Hermitage. Halt of the Travellers.
Gallery. Peasant Scenes.
B
Paris.
Petersbnrg.
Vienna.
VOL. II.
LAAR, EoELAND VAN, a younger brother of
Pieter van Laar, was born at Haarlem in 1610. He
painted in the style of his brother, with whom he
travelled in Italy. He died young at Genoa in 1640.
LABACCO, Antonio. See Abacoo.
LABACCO, Maeio, was an Italian engraver,
who flourished from 1551 to 1567. He engraved
some of the plates to a wort on architecture by his
father, Antonio Labacco, published at Rome in
1559 ; and also copied Martin Schongauer's print
of the ' Temptation of St. Anthony,' and Beatri-
zet's print, after Giotto, of 'Peter walking on
the Sea.' No particulars of his life are recorded.
Both this 'artist and his father are sometimes called
Abacoo.
LABADIE', Andeeas, a German painter and
sculptor, was born at Bautzen in 1731, and was
instructed in art by Schwarzenberg at Leipsic. In
1763 he went to Berlin, where he was appointed a
professor in the Academy, and where he died at the
beginning of the present century.
LA BAER, Johannes de. See De la Baee.
LABAES, Jakob, was a Flemish painter, who
flourished at Ypres about 1388, and executed some
portraits for the magistracy of his native city.
LABA!&A, ToMAS, was a Spanish amateur painter,
who flourished at Madrid in the reign of Philip IV.
(1621—1665).
LA BAUME, , was a French painter, who
flourished in 1673, and executed some pictures for
the Castle of Loo by command of Prince Frederick
Henry of the Netherlands.
LABBE, Nicolas, a French historical painter,
flourished in Paris in 1570, in which year, on the
king's entry into Paris, he and his son Camille
were commissioned bj'the municipality of Paris to
paint sixteen historical and allegorical pictures in
the Reception Hall.
LABENSKY, F. X., a Russian painter, and con-
servator of the Royal Gallery at St. Petersburg,
was born about 1765. In 1805 he published in
two quarto volumes the ' Galerie de I'Hermitage,'
containing plates in outline of many of the best
pictures in the collection.
Labeo
A BIOGRAPHICAL DICTIONARY OF
Laccur
LABEO, TiTiDins, or Ateids, praetor and pro-
consul of the province of Narbonne, a.d. 69, painted
small historical pictures. He died at an advanced
age in the reign of Vespasian.
LA BERGE, Charles AnGUSTB db. See De
LA Beege.
LABILLE DES VERTUS, Adelaide. See
Vincent.
LA BOISSIERE, Simon db. See De la Bois-
sii;RB.
LABORDE, L^ON Emmanuel Joseph Simon de.
Marquis, was born in Paris in 1807. He distin-
guished himself as a lithographer, wood-engraver,
and arohseologiat. He visited Arabia and the Bast
in company with his father, and on his return was
appointed secretary to the French Embassy in
Rome, which post he subsequently held in London,
the Hague, and Cassel. In 1841 he was elected a
deputy, and in 1842 a member of the Academy.
He was afterwards appointed Keeper of the Sculp-
ture in the Louvre, and in 1856 Keeper of the
Archives of the Empire and Senate. He published
an account of his travels in the East, and also a
history of engraving in mezzotint. He died at the
chateau of Beauregard, Eure, in 1869.
LABOUCHBRB, Pierre Antoinb, a French
painter, was born at Nantes in 1807. After study-
ing in Germany and England he was placed in a
house of business at Antwerp. In 1827 he made
a voyage to the United States, and in 1832 to China.
His residence at Antwerp had fostered the great
love he had for art, and so in 1836 he definitely
abandoned his commercial career, and after a year's
travel in Italy, he went to Paris, and studied under
his friend Paul Delaroehe. He afterwards travelled
in Africa, whence he brought back with him a large
number of water-colour sketches. He died in Paris
in 1873. His most important productions were :
Lnther at Wittenberg in 1520. 1855.
Luther at the Diet of Worms. 1857.
Luther's Family at Prayer. 1865.
Lucas Cranaoh painting Luther's portrait. 1865.
Luther's Death at Bisleben. 1866.
Charles V. at the Battle of Miihlberg, 1855.
Erasmus at the house of Sir Thomas More. 1855.
A Huguenot. 1859.
Albrecht Diirer painting the Emperor Maximilian.
1848.
Olympia Morata at Ferrara. 1869.
Penserosa. 1870.
LABRADOR, Juan, a Spanish painter, bom at
Badajoz about 1530, was a pupil of Morales. He
painted fruit and flower pieces, which were admired
for their truth and brilliancy of colour. He was
also very successful in representing drops of water.
He died at Madrid in 1600.
LABROCTE, Alphonse db, a French miniature
painter, was born in 1792, and died at Metz in 1863.
LABRUZZI, Carlo, was born at Rome about
1765. He painted several large landscapes, and
also had a reputation as a figure draughtsman.
Most of his etchings are in outline, and among
them may be mentioned those after the works of
Masaooio and Michelangelo.
LABRUZZI, TOMMASO Pietro, the son of I'ietro
Labruzzi, an historical painter, lived at Rome in
the latter part of the 18th century, and painted
several historical pictures. He died about 1808.
LABY, AuGUSTB FBANgois, a French historical
and portrait painter, was born in Paris in 1784, and
studied under David. He was engaged on a picture
for the church at Etale, in Belgium, when he died
in Paris in 1860. Amongst his works are :
2
Miracle of St. Leu. {Church of Ville-Therry.)
Passage of the Pass of St. Bernard. _
The Crucifixion. 1827. (Church of Villemomb e.)
Portrait of Louis XVIII. (Society de I'Umon, Lille.)
Portrait of Charles X. (^Hotel-de- Ville, Beziers.)
LA CALLEJA, Andreas de. See De la Cal-
LEJA. , ,
LACEPEDE, Am^lie db, a Frer.ch miniature
painter, whose maiden name was Kaiitz, was
bom in 1796, and died in Paris in 1860.
LA CHAPBLLE, George db. See De la Cha-
PELLE.
LACHAUME DE GAVAUX, Jean Louis, called
Chi^bet, a French landscape and decorative painter,
was born at New Orleans in 1820. He was the son
of a French musician, and a pupil of Joseph Thierry.
He exhibited landscapes at the Salon from 1835,
but his best work was the scenery for ' Les Hugue-
nots,' ' Le Roi de Lahore,' ' Michel StrogofE,' ' Paul
et Virginie,' ' Aida,' ' Le Roi Carotte,' ' Le Tribut de
Zamora,' ' Le Prophete,' ' Quatre-vingt-treize,' and
other famous pieces. He died in 1882.
LACHBNWITZ, F. Siegmund, bom at Neuss in
1820, was a student at the Diisseldorf Academy
from 1840 to 1867, studying mostly by himself
with animal life for his subjects. He died at
Diisseldorf in 1868. The following are some of
his best works :
Horses frightened by a Bear. 1848.
A Family of Lions ^sturbed by Tigers. 1850.
A Skirmish.
Illustrations of the Story of Eeynard the Fox.
LACHNBR, Hans, was a German painter and
engraver, who flourished about 1580.
LACKMAIR, Melchior, was a native of Munich,
who died in 1625. He was a pupil of Sigmund
Hebenstreit.
LACOMA, Francisco Josifi Pablo, a Spanish genre
painter, was born at Barcelona in 1780. He entered
the Academy, where he carried ofE all the prizes-
and received a pension for five years, with which
he visited Paris, and studied under Spaendonck,
David, and Gros. In 1810 he received a gold
medal in Paris, and in 1819 was appointed court
I painter. He painted portraits, among which was
one of the King of Spain, engraved by Blan of
Barcelona, and fruit and flower pieces.
LACON, , was a portrait painter, who died
about 1757. He painted water-colour portraits,
i and set up a puppet-show at Bath.
LA CORTB. See De la Coktb.
LACOSTB, Jean Louis Joseph Camille, a
French engraver on wood, was bom at Toulouse
in 1809, and died in Paris in 1866.
LACOUR, Pierre, the elder, an historical
painter, born at Bordeaux in 1745, was a pupil
of Vien. After studying at Rome he settled at
Bordeaux, and was appointed professor in the
Academy of that city, and it is there that the
greater number of his pictures are to be found in
the churches and the collections of amateurs-.
Among his principal works are, ' St. Paulin, Arch-
bishop of Bordeaux, opening his Palace to the
Afflicted,' ' Orpheus bringing Eurydice from the
Infernal Regions,' 'A Miser sleeping on his Trea-
sure,' and ' A Mendicant.' He also painted por-
traits, landscapes, and marine subjects. He died
at Bordeaux in 1814.
LACOUR, Pierre, , the younger, son of Pierre
Lacour the elder, was born at Bordeaux in 1778.
He was a painter, and succeeded his father as pro-
fessor in the Academy of Bordeaux, though \\f is
La Croce
PAINTERS AND ENGRAVERS.
Laegb
better known as an archseologist and engraver.
lie died at Bordea'tix in 1859.
LA CROCE, JoHANN Nepomtjk. See De la
Crock.
LACROIX, Gaspard Jean, a Frenob landscape
painter, was born at Turin in 1810. He studied
under Corot, and died in Paris in 1878. Amongst
his chief works are :
Catalan Fishers. 1842. (Nantes Museum.)
Labourers. 1849. {Grenoble Museum.)
A green Path near Meauz,
View in Auvergne.
LACROIX, Pierre, a French historical painter,
was born at Nimes in 1783. He afterwards went
to Paris and studied under David and Gros. In
the castle at Eosny is a picture by him of the
Duchess de Berry and her children, which he also
ilithographed. In the church at Valence is ' The
Preaching of St. Francis Xavier.' He died in 1856.
LA CRDZ. See De la Cruz.
LADAM, Ghislain Franqois, was a Flemish
historical painter, who flourished in 1659. He
was made free of the Corporation of St. Luke at
Tournai in 1659. In the cathedral of Tournai is a
picture by him of ' Christ giving the Keys to St.
Peter.'
LADAME, Gabriel, flourished at I'rankfort
about 1650. Florent Le Comte mentions this artist
as the engraver of several plates, representing Holy
FamiUes, and other devotional subjects, in the style
of Claude Mellan.
LADBEOOKE, Henry, a landscape painter, born
at Norwich in 1800, was the second son of Robert
Ladbrooke. He received a good education, and
was brought up for the church, but at his father's
wish he devoted himself to art. He did not
exhibit at the Royal Academy, but his works
appeared at the Norwich Society of Artists, in the
catalogue of which he is described as " writing and
drawing master." His works were faithful tran-
scripts of nature, and his representations of moon-
light effects were very successful. He died in 1870.
LADBROOKE, John Berney, a landscape painter,
the third son of Robert Ladbrooke, was born at
Norwich in 1803. His attention was early devoted
to art, for he exhibited at the Norwich Society of
Artists as early as 1817. He was then described
as " Master J. Ladbrooke," and was represented by
two works after Morland and a flower piece. His
style was chitefly based on that of Crome, and he
excelled in depicting foliage. He did not often
exhibit — he only appeared at the Royal Academy
once or tw^ice in the early part of his cai^eSr — but
he is said to have received good prices for his
works. He died at Norwich in 1879.
LADBROOKE, Robert, a landscape painter of
the Norwich school. Was bom in 1770. He began
life as a printer, but his love for art triumphed, and
he was content to commence the profession of an
artist by painting portraits at five shillings each.
He early became acquainted with " Old " Crome,
and they married sisters. Together they were the
moving spirits in the foundation of the Norwich
Society of Artists in 1805, but later in life he
quarrelled with Crome, and they headed opposition
societies. Ladbrooke was a large contributor to
the exhibitions of the Society. His works were
chiefly views in Norfolk and on the Norfolk coast,
with an occasional portrait. In the catalogues he is
described as "drawing-master." He also exhibited
pictures in London at the Royal Academy between
1809 and 1816, and published 'Views of Norfolk
Churches ' in five volumes. He died at Norwich
in 1842.
LADD, Anne, who was born in London in 1746,
and died in 1770, painted portraits and fruit pieces.
LADDER, , was an English painter of the
18th century, who painted genre pictures in the
style of Morland.
LADENSPELDER, Johann, or Hans von Essen,
an engraver, was born at Essen, a frontier city of
the duchy of Berg, about the year 1512, according
to the inscription on his portrait ; but nothing
further is known of his life, or of the time of his
death. Bartsch and Passavant describe sixty-one
prints by this master, the latest date on any one of
these being 1554, some of them bear monograms
composed of the letters J. L. V. E. S., which
he interprets Johann Ladenspelder von Essen
sculpsit. Bartsch thinks he was a painter as well
as an engraver, and that all the prints specified
by him were after his own pictures, or designs ; at
least, there are several on which he pnt his name,
with the word in. or inventor, besides the mono-
grams mentioned. Among his prints are :
His own Portrait.
The Descent from the Cross.
The Man of Sorrows.
The Trinity.
The Four Evangelists.
The Conversion of St. Paul.
Allegory of the Christian Virtues.
The Planets.
LADEY, Jean Maro, a French painter of fruit
and flowers, born in Paris in 1710, was a pupil of
Belin de Fontenay. He became an academician
in 1741, and died in Paris at the Gobelins Tapestry
Manufactory in 1749. There is in the Louvre a
painting by him of a ' Vase surrounded by Flowers
and Fruit,' dated 1743.
L'ADMIRAL, Jakob, was bom in 1699, and
accompanied his brother Jan on his travels. He
was employed in engraving insects.
L'ADMIRAL, Jan, a Dutch engraver, was born
at Leyden of French parentage in 1680. He. came
to London, where he worked for Le Blon, and then
went to Amsterdam, where he engraved the por-
traits for Van Mander's ' Livre des Peintres.' He
also executed in colours many prints of anatomical
subjects and natural history, and was much em-
ployed by the celebrated Frederik Ruysch. He
died at Amsterdam in 1773.
LADRON Y GUEVARA, Felipe de, a scion of
the noble house of Onate, was no less distin-
guished for his valour than for his love of art. He
accompanied the Emperor Charles V. to Bologna
in 1530, and acquired there the friendship of Titian
and other Italian and Flemish masters. From this
intercourse and a careful study of their woriss he
became an excellent amateur. He died at Madrid
in 1563. He wrote a ' Commentary on Painting,'
which after long neglect was published by Pony at
Madrid in 1788.
LADURNER, Adolphe, was a French historical,
portrait, and battle painter, who was born in 1798.
He was a pupil of Horace Vernet. In 1829 he
went to St. Petersburg, where he became painter
to the Emperor Nicholas, and where he died in
1865.
LAECK, Reinier van, or van der, was an his-
torical and mythological painter, who flourished
about 1640.
LAEGH, Willem van der. See Van der Laegh.
3
Laen
A BIOGRAPHICAL DICTIONARY OF
Xiagren^e
LAEN, Thierry van der. See Vas der Laen.
LAETHEM, Jakob van, was a Flemish portrait
painter of the 16th century, who iii 1517 painted
a portrait of the Emperor Charles V.
LAETHEM, Jan Alexander, was a Belgian
Dainter of genre subjects, whose works appeared
at the exhibitions of Antwerp, Ghent, and Brussels,
between the years 1825 and 1836.
LA FABRIQDE, Nicolaes, a Flemish painter,
was born about 1649 at Namur, where he was a pupil
of Bouge. He went to Rome when quite young,
and on his return settled at Liege, where he prac-
tised and died in 1736. There is a picture of ' The
Money Counter ' by him in the Brussels Gallery.
LA FAGE. See De la Fage.
LA FARGUE, Maria, sister of Paul Constantin
La Fargue, practised painting in various subjects,
which are well composed and highly finished.
LA FARGUE, Paul Constantin, a Dutch
painter, was born at the Hague. His pictures are
generally small, representing views of the environs
of his native city. His drawings are, however,
more esteemed than his paintings in oil. He had
considerable skill in copying the works of the
older Dutch masters. He died at Leyden in 1782.
There exist several etchings by him.
LA FERTB, M. de. See De la FertiS.
LAPITTE, Louis, a French historical painter,
was born in Paris in 1770, and studied under Des-
inarteau and J. B. Regnault. In 1791 he obtained
the first prize with his work entitled ' Regulus
returning to Carthage,' and was sent to Rome.
After studying some time there he settled in Paris,
and under the Restoration was appointed painter
to the king, and became a member of the Institute
and of the Academies of Rome and Florence.
The French Revolution and Napoleon I. provided
him with plentiful materials for his drawings and
paintings. He died in Paris in 1828.
LA FLEUR, Nicolas Gdillaume de. See De
LA Flbur.
LAFOND, Charles Nicolas Raphael, was born
in Paris in 1774. He was a pupil successively of
Barth^lemi, of Suvee, and of Regnault, and holds a
distinguished rank among the modern French
painters of historical and poetical subjects. His
works are numerous, and are to be found in the
Versailles and other public galleries, as well as in
private collections. His pictures of the ' Good
Samaritan,' ' Jacob blessing his Sons,' and ' Charles
VII.' obtained for him the gold medal. He died in
Paris in 1835.
LAFOND, Daniel, a native of France, was born
in 1760. During the religious troubles he removed
from France to Switzerland, and settled at Berne.
He was a pupil of Siegmund Freudenberger. He
excelled chiefly in landscapes, and executed several
Swiss views. He died at Berne in 1831.
LAFONTAINE, Pierre Joseph, was born at
Courtrai in 1758. He was first instructed by
Kaplau van Neste, who assisted him to enter the
Academy at Courtrai, and afterwards by Jean
Douelle. Interiors of churches were his favourite
subjects. He went to Paris, aud in 1782 was elected
a member of the Academy. The figures in his
works were often painted by Taunay, De Marne,
Swebach, or Drolling. To the profession of an
artist he joined the business of a picture-dealer.
He died in Paris in 1835.
LA FOSSE. See De la Fosse.
LAFRENSBN, Nicolaus, (or Lavreince), born at
Stockholm in 1737, was instructed in the rudiments
of painting by his father, a miniature painter. At
first he devoted himself to the same branch, and m
1771 visited Paris, where he painted portraits of- a
small size in water-colours and in oil. After return-
ing to Sweden he became a member of the Academy
at Stockholm in 1773, and was appointed court
painter. On his second visit to Paris in 1774 he
painted very pleasing rococo scenes._ His last
productions represent portraits, historical scenes,
festivals, &o. He painted the figures in Bellanger's
works, and his paintings have been engraved by
Benossi, Delaunay, Helman, Br^a, Vidal, Mariage,
and Pierron. He left Paris in 1791, and died at
Stockholm in 1807. Among his works may be
mentioned :
The Happy Moment.
Le Billet doux.
The Dancing-School.
Preparations for the Ball.
Ebba Brahe, writing on a window.
Brahe and Gyllenstjerna.
Erick XIT. and his Wife.
Catharine Jagellonla and her Favourite.
LAFRERY, Antoine, a French engraver, was
born at Salins in 1512. In 1540 he went to Rome,
and with his uncle, Claude Duchet, established a shop
which had a great reputation for prints and maps.
Among his engravings are 'Jupiter slaying the
Giants,' after Raphael, and ' The Birth of Adonis,'
after Salviati. He died about 1680.
LA FUENTE. See De la Fdbnte.
LAGEMAN, Hendrik, a Dutch engraver, was
born at Amsterdam in 1765. He was instructed
by Karel Konse and J. G. Holtzhey, and he en-
graved several portraits. He died in 1816.
LAGNIET, Jacques, was a French engraverof •
the 17th century, of whose' life there are no details,
but his works are rare and much sought after.
LAGOOR, JoHAN, was a painter and engraver of
the 17th century at Haarlem, who entered the Guild
there in 1645, and was living in 1649. His genre
paintings are generally attributed to other artists.
There are six very rare plates by Lagoor, among
which are ' The Square Tower ' and ' The Rotunda.'
LA GOURDAINE, Jean Pierre Norblin de.
See Norblin de la Gourdaine.
LAGRENI^IE, Anthelmb FRANgois, a French
historical, genre, portrait, and miniature painter,
was born in faris in 1774. He was a son of Louis
Jean Franpois Lagrenee, and studied under Vincent.
In 1793 he served in the army, but on his release
from military service he returned to art. He was
patronized by the Emperor Alexander, on whose
invitation he paid a visit to Russia in 1823. His
latter years were entirely devoted to miniature
painting. He died of cholera in Paris in 1832.
LAGRENEE, Jean Jacques, a French historical
and portrait painter, was born in Paris in 1739. He
studied under his brother, Louis Jean Francois
Lagrenee, and also in the Academy, where he
obtained the second prize in 1760. After con-
tinuing his studies at Rome, he followed his
brother to Russia. On his return he was received
into the Academy in 1775, becoming assistant-
professor in 1776, and professor in 1781. He
was engaged on the decorations of the Louvre,
and was also attached to the manufactory at Sevres,
where he did much good work. A process for pro-
ducing designs on marble was invented by him.
He died in Paris in 1821. Amongst his works are :
Angers. Museum. The Betrothal.
Auxerre. Cathedral. The Baptism of Christ.
„ „ St. Michael and the Devil.
LagrenSe
PAINTERS AND ENGRAVERS.
Lairesse
Ohalon-sar-Sa6ne. 3/as. Venus and Vulcan.
Grenoble. Museum. St. John preaching.
Orleans. Museum. Artemisia.
Paris. Louvre. 'Winter.
,, „ Melancholy.
LAGRENBE, Louis Jean FRANgois, was born
in Paris in 1725. He was a scholar of Carle van
Loo. In 1749 his picture of ' Joseph interpret-
injs; the Dream of Pharaoh' obtained the great
prize from the Academy of Painting, and he was
sent as a pensioner to Rome. He returned to
Paris in 1753, and was admitted a member of the
Academy in 1755. His picture of admission was
the ' Rape of Deianeira by the Centaur Nessus.' This
and his ' Justice and Clemency,' painted in 1765,
are in the Louvre. His' reputation induced the
Empress Elizabeth to appoint him to the office
of director of the Academy at St. Petersburg, and
to that of her principal painter. In 1781 he was
made director of the French school at Rome ; and
there he painted some of his best pictures. They
are chiefly from sacred and profane history, and
the ancient poets, and the greater part have been
engraved. He was professor-rector of the School
of Fine Arts, and honorary conservator and ad-
ministrator of the Musde, when he died in Paris
in 1805. He etched several small plates from his
own designs and others, with great spirit ; among
which are the following :
The Virgin, vrith the Infant sleeping ; after Guido.
St. Peter and St. Jerome ; two prints ; from liis own
designs.
The Virgin and Child.
Charity and Justice ; two emblematical subjects.
The Sacrifice of Noah.
A Sacrifice to Pan.
LAGDERRE, John, called 'Jack Laguerre,'
was the son of Louis Laguerre. He was bom in
London, and was instructed in painting by his
father, and worked also under Hogarth, but having
a talent for music and singing, he had recourse to
the stage, where he met with considerable success.
Towards the latter part of his hfe he painted scenes
and decorations for the theatre. He etched a plate
representing FalstaflF, Pistol, and Doll Tearsheet,
with other theatrical characters, in allusion to a
quarrel between the players and patentees. He
also engraved a set of prints to the farce of ' Hob
in the Well,' which had a great sale, though in-
difEerently executed. As a caricaturist he is con-
sidered the founder of a school. He was one of
the class of pleasant, clever, and careless fellows
whose disposition and habits preclude any great
attainment. He died in poverty in 1748.
LAGUERRE, Louis, called ' Old Laguerre,' was
born in Paris in 1663, and had Louis XIV. for
his godfather. His father was a Catalan who
settled in France, and became master of the Mena-
gerie at Versailles. He placed his son to be in-
structed in literature in the college of the Jesuits,
where he acquired sufficient learning to be of use
to him in his historical subjects and allegories. He
was for some time a scholar of Charles Le Brun,
and frequented the Academy in Paris. In 1683 he
came to England with one Ricard, a painter of
architecture, and was first employed by Antonio
Verrio to assist him in the numerous decorative
works in which he was engaged. Laguerre painted
the greater part of Verrio' s work in St. Bartholo-
mew's Hospital, and when he was little more than
twenty years of age, got into very extensive busi-
ness in painting saloons, ceilings, &c. in the man-
sions of the principal nobihty. King William
employed him at Hampton Court, where he repaired
Mantegna's cartoons of the 'Triumphs of Julius
Caesar,' and painted, in chiaroscuro, the ' Labours of
Hercules.' Horace ^Yalpole states, that he was at
first chosen unanimously by the commissioners for
rebuilding St. Paul's, to decorate the cupola, but
was set aside by the paramount interest of Sir
James Thornhill. Sir Godfrey Kneller employed
him to paint the staircase of his house at Whitton,
where he distinguished himself beyond his usual
performances. There is an etching by Louis
Laguerre of the ' Judgment of Midas.' He died in
1721 whilst witnessing a performance in Drury
Lane Theatre. Pope has immortalized him and
his employer Verrio in the line, "Where sprawl
the saints of Verrio and Laguerre." This, how-
ever, is unjust to Laguerre's ability. In the
National Portrait Gallery is a portrait by him of
William, first Earl of Cadogan.
LA GUERTIERE, Fbanqois de. See De la
GUERTIERE.
LA HAYE. See De la Hate.
LAHDB, Gerhard Ludwig, bom at Bremen in
1766, studied at the Academy at Copenhagen, and
distinguished himself as a designer and engraver.
He obtained several medals, and was painter at the
court of Denmark. He died at Copenhagen in 1820.
LA HBLE, Isaak de. See De la Hele.
LA HIRE. See De la Hire.
LA HUERTA. See De la Huerta.
LA IGLESIA, Francisco Ignacio Ruiz de. See
Ruiz dr la Iglesia.
LAIXATI, Maeco, a painter of the Parmese
school, was born at Piacenza, and flourished about
1777. He was a pupil of Louis de La Forest. He
worked at Carpi, where he executed several pictures.
LAING, John Joseph, a Scottish wood engraver,
was born at Glasgow in 1830. He practised for
some time in his native city, but afterwards came
to London, where he was chiefly employed on
architectural subjects for the ' Builder.' He died
at Glasgow in 1862.
LAIR, Jean Louis C^sae, a French painter of
historical subjects and of portraits, was born at
Janville (Eure et Loire) in 1781, and died there in
1828, after passing the greater part of his life in
Paris. He was a scholar of Regnault and David.
He painted many religious subjects of large dimen-
sions for churches, and a multitude of portraits
and smaller pictures.
LAIRB, SiGMUND, a German miniature paint«r,
was born in Bavaria about 1553. He studied
painting under the Flemish painter, Francisco de
Castello, at Rome, during the pontificate of Pope
Gregory XIII. The greater part of his Madonnas
went to India. He died at Rome in 1639, aged 86.
LAIRESSE FAMILY.
Kenier de Lairesse
(law?— 1667.)
Ernest
(1635?— 16753
Gerard
(1641—1711).
Jacob.
Jan.
Abraham
(1681-1739.)
Jan.
Gerard.
LAIRESSE, Abraham de, bom at Amsterdam
in 1681, was a son of Gerard de Lairesse, in whose
style he painted. He died at Amsterdam in 1739.
LAIRESSE, Ernest de, the elder brother of
Gerard de Lairesse, was bom at Li6ge about the
year 1635, and was instructed in design by his
father. He painted animals and hunting scenes in
distemper, and was sent to Italy to study, by hia
patron, the Elector Maximilian Heinrich of Cologne,
6
Xiairesse
A BIOGRAPPIICAL DICTIONARY OF
liallemaiit
who, on his return, appointed him his painter, and
in whose service he died at the age of fortj'. His
best worli perished at the bombardment of Bonn.
LAIEESSB, Geeaed de, was born at Li^ge in
1641. He was the son of Eenier de Lairesse, an
artist of some celebrity, who had him instructed in
the belles-lettres, poetry, and music, and taught him
the principles of design. He afterwards studied
under Berth olet Plemalle, and at the age of sixteen
had made himself known as a portrait painter. He
was soon after employed in some historical works
for the Electors of Cologne and Brandenburg, and
these established his reputation. Unfortunately an
expensive and dissolute course of life kept him in
indigence, although his gains were considerable.
Not iinding sufficient employment in his native
city, he settled at Utrecht, and soon afterwards
removed to Amsterdam, where he was regarded as
the greatest historical painter of his time. Lairesse
was afflicted with loss of sight in 1690, when he
was only iifty years of age ; but so great was his
love for art, that he continued till his death to
coramunioate his ideas on its theory and practice,
in discourses from which were collected the ma-
terials for the treatise on design and colouring,
pu blished after his decease. He died at Amsterdam!
in 1711. His style is grand and poetical, he was
perfectly acquainted with history and fable, pos-
sessed a lively and ready in\'ention, and was attent-
ive to propriety of costume. In his composition and
design he has been compared to Nicolas Poussin, but
he has very slender pretensions to Poussin's classic
elevation of thought, profound acquaintance with
the antique, elegance of taste, and purity of design.
He painted with an extraordinary facility, and is said
to have finished in one day a picture of 'Mount
Parnassus, v/ith Apollo and the Nine Muses ; ' an
achievement which Poussin would not have been
ambitious of performing. His backgrounds are
enriched with architecture, the principles of which
lie perfectly understood. A visit to Italy might have
given more elegance and delicacy to his figures,
which are occasionally ungraceful and too short. It
is, however, surprising that he could arrive at so
accomplished a style as is generally visible in his
works, without the advantages of travel, and with
no better models to-consult tlian those he met with
in his own country. Among his paintings are :
Amsterdam.
Museum,
A Festival of Bacchanals.
„
)j
Legitimate Power.
,
,,
Eevolution.
„
Venus, Mars, and Cupid.
jj
)>
Venus, Mars, Cupid, and Mer-
cury.
„
Diana and Endymion.
Berlin.
Oallenj.
The Baptism of Acliilles.
„
„
Satyr and Nymph.
Brussels.
Oallei-y.
The Death of Pyrrhus.
Cassel.
Gallery.
The Death of Germanicus.
Hague.
Museum.
Achilles recognized by Ulysses.
Palis.
Louvre.
Institution of the Eucharist.
"
JJ
Disembarkation of Cleopatra at
Tarsus.
J,
Dance of Children.
n
»
Hercules between Vice and
Virtue.
Stockholm.
Gallery.
Achilles made known by
Vienna.
Gallery. Neptune and Amphitrite.
Others are to be met with at Augsburg, Bruns-
wick, Christiania, Dresden, Munich, &c.
As an engraver, Gerard de Lairesse claims par-
ticular notice. He etched a large number of plates
6
from his own designs, executed with great freedom
and spirit : the lights are broad and powerful, and
the eye is carried at once to the principal figures
of the composition. He sometimes marked his
works with the initials O de L ; G L ; 0 : D : L :
pinx. ;G L; GL fee et exc. : G L F ; GLf; G.
Zaire; G. Laires. The following are engraved
by himself :
The Fall of our first Parents
Adam and Eve driven from Paradise.
Joseph and his Brethren.
Solomon consecrated by the High Priest.
The Infant Jesus explaining to his Parents the Divine
WiU.
The Incredulity of St. Thomas.
Saint Theresa.
The Parting of Hector and Andpomaohe.
Antony and Cleopatra.
A March of Amazons.
A large Bacchanalian subject.
Venus lamenting the Death of Adonis.
The Four Seasons ; designs for ceilings.
Diana and Endymion.
Bacchante, with Silenus asleep.
LAIEESSB, Jacob de and Jan de, were the
younger brothers of Gei-ard de Lairesse, who dis-
tinguished themselves in painting flowers, fruit,
and bas-reliefs. Their chief residence was at
Amsterdam.
LAIRESSE, Eenieh de, a Dutch painter, was
born at Liege about 1696. He was a pupil of Jan
Taulier, whose daughter he married. He was
principal painter to Ferdinand of Bavaria, Electsr
of Cologne and Prince Bishop of Liege. Among
his historical pictures are, ' The Martyrdom of the
Eleven Thousand Virgins,' 'The Martyrdom of St.
Lawrence,' ' The Death of Seneca,' and ' The Rape
of Helen.' He afterwards abandoned painting, and
took to painting on wood to resemble marble and
jasper and precious stones, in which art he specially
excelled. He died at Vitry-Ie-Fran9ais in 1667.
LA JOUE, Jacques de. See De la Joue.
LALA was a feinale portrait painter of Cyzicus,
who flourished at Rome about B.C. 74. She painted
in encaustic on ivory, and obtained a great re-
putation.
LA LIVE DE JULLT, Ange Laueent de. See
De la Live de Jullt.
L'ALLEMAND, Feiedeioh, or more usually
Feitz, who was born at Hanau in 1812, studied at
the 'Vienna Academy, and became a good painter
of military subjects, for which he was very popular.
He died at Vienna in 1866. An ' Episode in the Battle
of Znaim,' dated 1845, is in tire Vienna Gallery.
L'ALLEMAND, Geoeges, a French historical
painter, who was a native of Nancy, executed in
1630 and 1633 the first and fourth 'mais' for the
cathedral of Notre-Dame..
LALLEMAND, Jean Baptiste, a French land-
scape and marine painter, was born at Dijon about
1710. He was originally a tailor, but abandoned
the shears for the brush. He came over to England,
then returned to France, and after a visit to Italy
again came back to his own country, where he died
about 1805.
L'ALLEMAND, Thiesey, a portrait draughts-
man, was born at Hanau in 1809, and died at
Hanover in 1881. He studied at the Academy
of Vienna.
LALLEMANT, Philippe, who was born at
Rheims in 1629, and died in 1716, was a painter
residing in Paris. In 1672 he was received into
the Academy, on which occasion he painted the
Lama
PAINTERS AND ENGRAVEES.
Lamberts
portraits of Perrault and Barbier du Metz, which
are now at Versailles. He was the master of De
La Hire, and the second master of Nicolas Poussin.
LAMA, Giovanni Beenabdo, the son of an artist
of little celebrity, named Matteo Lama, was born at
Naples in 1508. After learning the first principles
of design from his father, he was placed under the
tuition of Giovanni Antonio d' Amato. In 1527 the
memorable saoliing of Rome drove from that city
the greater part of the inhabitants ; among others,
Polidoro da Caravaggio, who took refuge at Naples,
and Lama had the advantage of his instruction.
He, however, followed rather the style of Andrea
Sabbatini, and his paintings are sometimes weak
and affected. He died at Naples in 1579. Many
of his works are to be found in the churches of that
city ; amongst them the following are noteworthy :
S. Severino. The Entombment.
S, Gregorio Armeno. The Ascension.
S. Lorenzo Magyiore. The Marriage of St. Catharine.
S. M. della Sapienza. Christ amongst the Doctors.
LAMA, Giovanni Battista, was born at Naples
about the year 1660, and was a fellow-student with
Paolo de Matteis, under Luca Giordano. He
painted history, and was much employed in easel
pictures of mythological subjects, some of which
were in the gallery of the Duke of San Niccola
Gaeta, at Naples, and were admired for the elegance
of their style and the sweetness of their colouring.
Others are to be met with in the environs of the
same city. He died after 1740.
LAMA, GiULlA, was an historical painter of
Venice, who flourished in the 18th century.
LA MAIR, — — , was a pauiter of serpents,
lizards, and other reptiles, in the manner of Otho
Masseus, or Marcellis, as he is frequently named.
He particularly excelled in the representation of
butterflies ; and his works are generally attributed
to Masseus, but they are painted on u lighter
ground. Neither the year of his birth nor that of
his death is known, but he lived at Nymwegen in
the 18th century.
LA MAISON, Nicolas de. See Della Gasa.
LAMANNA, Gibolamo, an historical painter and
poet, was born at Catania, in Sicily, about 1580, and
died in 1640.
LA MARE-EICHART, Florent I. de. See De
LA Mare-Richaet.
LAMARS, D., was a Flemish historical painter,
who flourished about 1621. In the Augustine Con-
vent at Ghent is a picture by this artist of the
' Circumcision.'
LAMBERT, George, was bom in Kent in 1710,
and was a scholar of William Hassell, and after-
wards of Woptton, to whom he was greatly superior.
His first employment was as a theatrical^ scene-
painter, in which line he worked for the Lincoln's
Inn Fields Theatre, but in 1736 he obtained the
post of principal painter at Covent Garden, where
his productions were numerous and important, but
many of them perished in the fire of 1808. He has
the credit of being one of the first of the ETiglish
painters who treated landscape with a pleasing and
picturesque effect. In conjunction with Samuel
Soott, he painted some views of the settlements of
the East India Company, for their house in Leaden-
hall Street, which has since been demolished. The
Foundling Hospital possesses a landscape by him.
Some of his English landscapes have been engraved
by Vivares, Mason, &c. George Lambert etched,
in a coarse but painter-like manner, two prints,
now become scarce, one of which represents an
upright landscape, with ruins, and three small
figures. He died in 1765.
LAMBERT, James, was a landscape painter, who
gained a premium at the Society of Arts in 1770,
and exhibited at the Society of Artists, the Free
Society of Artists, and the Royal Academy from
1761 to 1778. He died near Lewes in 1779. His
son, also named James, was a genre, fruit, and
flower painter, who exhibited at the Free Society of
Artists and the Royal Academy from 1769 to 1778.
LAMBERT, Jean, was a painter of Lidge, who
flourished about 1427.
LAMBERT, John, was born about 1620. He was
of good family, and rose to the rank of major-
general in the service of the Commonwealth. On
the Restoration he was banished to Guernsey, where
he employed himself in flower painting, having in
his youth been a pupil of Jan Baptist Gaspers.
He died in Guernsey in 1683. His son John was
a portrait painter, who died at his estate in Yorkshire.
LAMBERT, Josse, was a Flemish engraver, who
died at Ghent in 1566 or 1557. There is a curious
engraving by hun representing 'The Triumph of
Christ,' after Titian, which is engraved on wood in
ten pieces.
' LAMBERT, Mark, a wood engraver, was one of
Bewick's assistants. He was born in 1781, and
died at Newcastle in 1855.
LAMBERT, Martin, who was born in Paris in
1630, was a portrait painter and a pupil of the
cousins Beaubrun. He was elected an Academician
in 1663 ; his picture of reception represented 'The
Cousins Beaubrun working at the same easel: ' it is
now in the Louvre. He died in Paris in 1699.
LAMBERT the LOMBARD. See SasTBEMAN.
LAMBERTl, Buonaventura, was born at Carpi
in 1652, and after residing some time at Modena,
he established himself at Rome. He is said to
have been one of the last and ablest scholars of
Carlo Cignani. He painted some pictures for St.
Peter's, which have been executed in mosaic by
Ottaviani, and his fine picture of ' St. Francis of
Paola resuscitating a dead Child,' in the church of
the Spirito Santo de' Napolitani, has been engraved
by Jacob Frey. His ' Virgin showing the Infant
Saviour to St. Jerome ' was engraved by Dorigny.
There are several of his easel pictures in the Palazzo
Gabrielli, which are deservedly admired. He died
at Rome in 1721.
*LAMBERTI, Niccol6, a painter of the Florentine
school, was living in 1382. He was a pupil of the
Orcagnai, and painted in company with Jacopo in
the palace at Volterra a fresco representing the
' Annunciation ' with Saints.
LAMBERTINI, Miohele di Matteo, was a
painter of Bologua, who in 1447 painted in the
church of San Giovanni at Siena the twelve articles
of the Apostles' Creed. There are a ' Pieta ' between
SS. Jolm, Mark, Roch, and Anthony Abbot, dated
1462, and a ' Virgin and Child,' dated 1469, by
him in the Academy of Bologna. The churches
of San Petronio and San Giacomo in the same
city also possess specimens of his work ; whilst
the Academy of Venice has an altar-piece of the
'Virgin and Child,' with Saints and scenes from
the life of St. Helena. No dates can be given of
his birth or death.
LAMBERTS, Gerard, a Dutch landscape and
architectural painter, was born at Amsterdam
in 1776, and died in 1850. He was a conservator
of the Amsterdam Museum and a member of the
Academy.
Iiambinet
A BIOGRAPHICAL DICTIONARY OF
liamsvelt
LAMBINET, Emile Charles, a French land-
scape painter, was born at Versailles in 1815, and
studied under Drolling, Boisselier, and Horace
Vernet. He died at Bougival in 1877. Amongst
his works are :
Amiens. Museum. Les Baigneuses. 1849.
Avignon. Museum. The Banks of the Gardon. 1840.
Besan(;ou. Museum. The Course of the Ivette. 1865.
Camhrai. Museum. Interior of a Cottage. 1835.
„ „ View of Senhsse. 1836.
Montpellier. Museum.. Landscape.
LAMBOENB, Peter Spendblowe, an engraver,
was born in London in 1722. He was chiefly
engaged on architectural and antiquarian works,
and practised at Cambridge. He also painted
miniatures, and belonged to the Incorporated
Society of Artists. He died at Cambridge in 1774.
LAMBRECHTS, C, was a Dutch historical and
genre painter, who flourished in the 17th century.
LAMBRI, Steeano, an Italian historical and
portrait painter, who flourished about 1620, was
a pupil and imitator of Malosso. He painted in
1623, for the Dominican Church of Cremona, a
picture representing ' St. William and St. Louis
Bertrand.'
LAME, BiAGio DALLE, See Pdpini.
LAMEN, Van der. See Van der Lamen.
LAMINIT, Paul Jakob, a German engraver,
was born at Augsburg in 1773, and studied under
Ignaz Sebastian Klauber. His plates represent :
Several Towns and Landscapes, in Lipowsky's Almanac.
Several Views, for the Emperor of Bassia.
LAMINOY, Simon de, a French battle and land-
scape painter, was born at Noyon in 1623, and was
made an Academician in 1663. He died at Verrines
(Loiret) in 1683.
LAMION, Jean, was a distinguished French
miniature painter, who flourished at Troyes in 1336.
LAMMA, Agostino, an Italian battle painter, was
born at Venice about 1636. He was instructed by
Antonio Calza, and his chief production is the
' Siege of Vienna by the Turks,' painted in the style
of M. Stom. He died in Venice about 1700.
LAMME, Akie, a Dutch landscape painter, was
born at Heerensjansdam in 1748. He studied under
J. Ponse at Utrecht, and practised in the style of
Cuyp. He was much engaged on decorative work,
and was also a poet. His daughter Cornelia was
the mother of Ary SchefEer. He died in 1801.
LAMME, Aenoldus, a Dutch animal, landscape,
and battle painter, the son of Arie Lamme, was a
native of Dordrecht. He established himself as a
line-art dealer at Rotterdam, where he died in 1856.
LAMME, Cornelia. See Sohefper.
LAMMLEIN, Alexandre^ was born at Hohenfels,
Bavaria, in 1813. At the early age of ten he was
sent to Paris and placed under an engraver ; sub-
sequently he entered the Ecole des Beaux-Arts and
studied under Eegnault and Picot. He distin-
guished himself as a portrait painter, but also
executed religious and mythological subjects.
With Alaux he restored the Primaticcio Gallery
at Fontainebleau in the years 1836-39. Many
etchings and paintings on enamel by him are to be
met with. He was naturalized in France, and died
in 1871. Among his paintings may be mentioned :
The Chastity of Joseph.
The Awakening of Adam.
Job.
Jacob's Ladder.
The Vision of Zechariah. {Uoche/ort Museum.)
The Awakening of Tabitha.
Diana and Endymion.
8
LAMO, Pierre, was an historical painter, who
died at Bologna in 1678. He was a pupil of Inno-
cenzo da Imola.
LA MONCE, Raimond Ferdinand dk. See Db
LA MoNCE.
LAMORLET, Joseph, was a Flemish historical
painter, who flourished about 1665. In 1661 he was
made free of the Guild of St. Luke at Antwerp,
and became its dean in 1672-3. He died between
1680 and 1688.
LAMOTTE, , was a French historical painter
of the 18th century. In 1721 he took the second
prize at the French Academy for his picture of
' Gideon's Sacrifice.'
LAMPARELLI, Carlo, an Italian portrait and
historical painter, who flourished about 1680, was
a native of Spello. He was a pupil of Giacinto
Brandi.
LAMPI, Franz von, a painter of portraits and
battle pieces, was born at Klagenfurt in 1783,
and instructed in the art by his father, Johann
Baptista Lampi the elder. He died at Warsaw in
1852. There are by him :
Portrait of the Empress Catharine II. of Bussia,
Portrait of the Princess of Liechtenstein.
Portrait of the Dancer Heberle.
LAMPI, JoHANN Bafpist von, the elder, a
Tyrolese historical and portrait painter, was born
at Romeno in 1761, He became a professor at the
Vienna Academy in 1786, but subsequently he
resided in Russia, where he devoted himself to
portrait painting, and amassed a large fortune.
He died at Vienna in 1830. There are by him :
Darmstadt. Museum. The Portrait of a young Painter.
Petersburg. Hermitage. Portrait of the Empress Maria
Fedorowna.
Vienna. Gallery. Repose of Venus.
„ „ Portrait of Himself.
LAMPI, Johann Baptist von, the younger, an
Austrian portrait painter, was born at Trent in 1775,
and studied under his father, Johann Baptist Lampi
the elder, and at the Academy at Vienna. He
went afterwards to St. Petersburg, where he stayed
thirteen years, and became a member of the Acad-
emy at that city as well as of that at Vienna id
1813, He painted many of the most distinguished
personages of his time. Among his other works is
to be mentioned a ' Venus ' in the style of Fiiger.
He died at Vienna in 1837.
LAMPSONiUS, DoMiNicns, a Flemish historical
painter, was born at Bruges in 1532. He was a
pupil of Lambert Lombard, whose life he after-
wards wrote. He went in the suite of Cardinal
Pole to England, and after his death in 1558 he
settled at Li^ge, and was secretary to several
Bishops in succession. He was also a sculptor and
a poet, and wrote an elegy in Latin verse on the
painters of Lower Germany, published in 1572.
He died at Li^ge in 1599.
LAMSIN was a Flemish painter, who flourished
at Ypres in 1290.
LAMSVELT, Jan, a Dutch engraver, was born
at Utrecht about the year 1660. His style resembles
that of Romeyn De Hooghe. There are by him
some portraits, which are scarce, and some other
subjects, of which the following are the principal ;
Oliver Cromwell ; an oval.
Jan De Wit, pensionary of Holland,
Cornelis Pieterszoon Hooft.
Joris Cassander,
Hubert Duishuis, of Rotterdam.
The Siege of Tournay, by the Duke of Marlborough and
Prince Eugene.
J^amsweerde
PAINTERS AND ENGRAVERS.
Lanconello
LAMSWEEEDE, Simon. Anton van, a Dutch
designer and engraver, was born at Utrecht about
1625, and was living up to 1683. He engraved
several portraits in the style of Suyderhoef, though
very inferior ; among which are the following :
Franz Gomarius, professor of theology at Groningeu.
Heiurich Alting, professor of theology at Heidelberg.
Anna Maria van Sohurman. 1657.
Cyprian Eegnier, jurist of Utrecht.
Karel De Maets, professor of theology at Utrecht. 1 659.
LA MURA, Feancesco, (or Db Muba,) called
Fkancbschiello, was born at Naples in 1699. He
was one of the numerous scholars of Francesco
Solimena, and was much employed in ornamenting
the churches and other public edifices in his native
city. In the royal palace of Turin he painted,
in competition with Claudio Beaumont, frescoes
representing the Olympic Games, and the Life of
Achilles. He died in 1782. The following frescoes
by him are at Naples :
jS. Chiara, St. Clara putting the Saracens to Flight.
„ The Adoration of the Sacrament.
„ Solomon building the Temple.
Monte Cassino, Scenes from the Old and New Testaments.
„ Lives of the Saints.
LAMY, Charles, a French historical painter, was
born at Mortagne (Orne) in 1699, and became an
academician in 1736. He died in Paris in 1743.
An ' Assumption of the Virgin ' by him is in the
Museum at Tours.
LAMY, Jean Auguste, a French painter of still-
life, was the son and pupil of Louis Auguste Lamy.
He was born at Marseilles in 1773, and died there
in 1844. Some of his works are in the Museum at
Marseilles.
LAMY, Louis Auguste, a French landscape
painter, was born at Marseilles in 1746. He was
received into the Academy in 1788, and died in his
native city in 1831. Many of his works are in the
Museum at Marseilles.
, LANA, LoDovico, a painter and engraver, was
born at Modena in 1597, and was educated at
Ferrara under Ippolito Scarsellino, but afterwards
studied under Guercino at Bologna. The theatre
of his triumph is. however, at Modena, where there
are many admirable productions of his pencil ; par-
ticularly his celebrated emblematical picture of the
city of Modena delivered from the horrors of the
plague, in the Chiesa Nuova ; a production with
which few works of art at Modena can be com-
pared. Lana was a successful imitator of Guercino,
and exhibits the vigorous opposition of his masses,
to which he united something of the spirited move-
ment of Tintoretto. He was the rival of Giovanni
Battista Pesari, who appears to have yielded to him
the superiority, by retiring to Venice when Lana
established an Academy at Modena, which became
famous through Italy. He died at Rome in 1646.
Among his best etchings are :
The Empress Irene binding up the Wounds of St.
Sebastian.
Six Labours of Hercules.
The Holy Family.
The Virgin.
The Death of Seneca.
There is a list of his prints in Bartsch's ' Peintre-
Graveur,' vol. xviii.
LANCASTER, Hume, was a painter of marine
subjects and coast scenery. He was a member of
the Society of British Artists, and exhibited also
at the Royal Academy. Some of his views ofE the
coast of Holland are among his best paintings.
He died at Erith, in Kent, in 1850.
LANCE, Geokge, a still-life psiinter, was born at
Little Easton, Essex, in 1802. It was originally
intended that he should follow a mercantile life,
but his distaste for trade, as well as delicate health,
induced his parents to consent to bis pursuing art,
and he accordingly, by his own introduction, became
a pupil of Haydon, with whom he remained seven
years. He also studied in the schools of the Royal
Academy, where he exhibited fi-om 1828 to 1862,
contributing in all only thirty-eight works. His
contributions more frequently appeared at the
British Institution. Although it was in the repre-
sentation of flowers and fruit that Lance won his
greatest reputation, for some years he produced
many subject pictures, and one of these, ' Melanc-
thon's First Misgivings,' won the prize of the
Liverpool Academy in 1836. In his later years,
however, he gave the preference to still-life pic-
tures. He died at Sunnyside, near Birkenhead, in
1864. Amongst his chief works are :
Captain Bolando showing Gil Bias the Treasures of the
Cave. 1839.
The Village Coquette. 1843.
Portrait of Himself. 1830. 1 / n *7, i- ■ * Tir \
Two Fruit Pieces. j (*"*'' Keiisington Museum.)
Three Fruit Pieces. (Blenheim Palace.)
A Basket of Fruit, Pineapple, \
and Bird's Nest. 1834. /
Bed Cap. 1847. > (National Gallery.)
Fruit ; Pineapple, Grapes, and \
Melon. 1848. ■'
The Biron Conspiracy. 1845.
The Lady-in-Waiting.
Two Fruit Pieces. ( Wohurn Alley.)
LANCE, Michel, a French fruit and flower
painter, was born at Rouen in 1613, and died in
1661.
LANCHARES, Antonio, was born at Madrid ii)
1686. He entered the school of Patricio Caxes,
where he acquired a style so like that of his
master's son, Eugenic, that it is difficult to dis-
tinguish between their works. He was employed to
paint various pictures for the Jesuit Convent at
Madrid, and for the Carthusians at Paular, all of
which have perished. In 1625 he was commissioned
to paint some pictures for the Convent of the Order
of Mercy at Madrid, the subjects being taken from
the life of Pedro Nolasco, a zealous redeemer of
Christian captives in the 13th century. He also
executed a large composition for the choir. He
died at Madrid in 1668.
LANCILAO, one of the best masters of miniature
painting, lived in the 16th century at Padua, and
studied under Bartolommeo della Gatta.
LANCILOTTO. See Blondeel.
LANCISI, ToMMASO, was an historical painter,
who was bom at Citta San Sepolcro in 1603, He
was a pujjil of Sciaminosso. Two of his brothers
also were painters. He died in 1682.
LANQON, Auguste, a French water-colour
draughtsman and sculptor, was a native of Sainte-
Claude (Jura), and first exhibited at the Salon in
1872. His etchings of episodes in the war of 1870-71,
published in V^ron's ' Troisieme Invasion,' and his
two albums, ' La Rue a Londres,' and ' Les Animaux,'
show considerable ability. He died in 1885.
LANCONELLO, Cristofobo, was a native of
Faenza, who flourished about the year 1587. From
his style, Lanzi thinks it probable that he was a
disciple of Federigo Barocci. In the Palazzo
Ercolani, at Bologna, is a picture by him of the
9
Lancreuon
A BIOGRAPHICAL DICTIONARY OF
Landerer
' Madonna and Child,' with a glory of angels,
and St. Francis, St. Clara, and other Saints below.
LANCRENON, Joseph Feedinakd a French
historical painter and lithographer, was boni at
Lods (Doubs) in 1791. He entered the Eoole
dea Beaux-Arts in 1814, and after studying^ under
Girodet-Trioson, was in. 1835 appointed Director
of the Museum at Besangon. He died in his native
village in 1874. Amongst his works are :
Tobit restoring his Father's Sight. 1819. ) (Sesangon
Portrait of M. Oourvoisier. J Museum.
Boreas earrying oft Oreithyia. 1822. (Cdling in the
Tuileries, destroyed by jire in 1871.)
A young Girl finding the Eiver Scamander. 1824.
{Amiens Museum.)
The Apotheosis of St. Genevieve. 1827. (St. Laurent,
Paris.)
LAN CRBT, Nicolas, a French painter of ' fetes
galantes,' was born in Paris, January 22nd, 1690.
His parents were in a humble position, and his
father died when he was quite young. Intended
for an engraver, he early received elementary in-
struction in drawing, but, becoming ambitious of
higher things, he entered the studio of Pierre D'Ulin,
one of the professors of the Academy. It was,
however, to Gillot that he chiefly owed his art
education. With him he remained some years,
and there he came under the influence of Watteau.
His friendship with the chief of the ' f Stes galantes '
school was not long-lived. According to Ballot de
Sovot, the success obtained by two works exhibited
by him, and which were attributed to Watteau,
caused a rupture between the two painters. Doubt
has been expressed as to this account of the origin
of the quarrel. Whatever may have been the
cause, the estrangement lasted till the closing year
of Watteau's life. Lancret was a thorough ' bour-
geois,' and passed his time chiefly in Paris. He
was a regular frequenter of the opera and the
' Comique,' and was a friend of the dancers La
Camargo and La Salle, whom he frequently repre-
sented in his works. Such time as he did not spend
in Paris was passed in sketching excursions iii the
country, and in the winter he drew much in the
life school of the Academy. In 1719 he was
received into the Academy as a painter of ' fStes
galantes.' Lancret long remained a bachelor : he
appears to have appreciated the Parisian life ' en
gar9on ' too much to enter early into the state of
matrimony. It was not till 1740 that he married
a grand-daughter of the comic poet Boursault.
His married life did not, however, last long, for he
died in Paris on the 14th September, 1743. Lancret
has sometimes been called the art-child of Watteau,
but he lacks his warmth, and he fails to invest
his works with the airy gracefulness which con-
stitutes the great charm of that master. The fol-
lowing is a list of his pictures in the chief public
collections of Europe :
Angers.
Museum.
■Wedding Breakfast. 1737.
„
»
Wedding Dance. 1737.
Berlin.
Gallery.
Fete galante.
'Royal Palace.
Hunting Scene.
„
Rustic Scene.
))
Conversation galante.
J,
Blind-man's Buff.
A Game at Skittles.
Besan^on.
Museum.
Puss in the Comer.
„
),
A Minuet.
Dresden.
_ Gallery.
Three ' Danses champStres.'
London.
Bu'cMnghain
Palace.
I Pastoral Scene.
Infancy.
„ National Gallery.
„
It
Youth.
London. Nat Gallei^.
Manhood.
Age.
Columbine in Carriage drawn
If
Nantes.
Museum.
by Dogs.
Bal oostum^.
"
Portrait of La Camargo.
j»
yj
Conversation galante.
Orleans.
Museum.
Dfijeuner au jambon.
Paris.
Louvre.
Spring.
Summer.
»j
"
Autumn.
Winter.
»
The Bird's Nest.
The Turtle-doves.
The Gascon punished. 1738.
The Actors of the Itahau
Comedy.
jj
j>
Conversation galante.
»>
?»
The Cage.
Perpignan.
Museum.
Promenade at Longchamps.
Petersburg.
Hermitage,
The Concert.
„
„
The young Bird-catchers.
jj
)j
A Kitchen.
J,
))
Kitchen Courtship.
J)
j»
Portrait of La Camargp.
The Earl of Essex.
"
»
The Philosopher married.
1739.
)»
,9
Scene from ' Le Glorieux.' 1739.
Rouen.
Museum.
Girls bathing.
Schleisslieim.
Gallery.
F^te champgtre.
Stockholm.
Gallery.
The Swmg.
jj
„
Skating.
»
„
Blind-man's Buff.
Valenciennes
Museum.
Nest of Turtle-Doves.
10
Further details as to Lancret can be obtained from
Charles Blanc's 'Peintres des Ffites galantes,' 1854,
and the ' ^^loge de Lancret,' by Ballot de Sovot,
edited, with catalogues of his pictures and of
prints engraved after his works, by J. J. Guiffirey,
Paris, 1874. OJ.D.
LANDA, Juan db, was a Spanish painter of
frescoes and historic.il subjects, who flourished at
Pampeluna f rom 1670 to 1630. In 1599 he painted
the high altar of Santa Maria de Tafalla, and in tlie
following year a ' St. Michael ' and a ' St. Catharine '
for the church of Caseda.
LANDELLS, Bbenezee, a wood engraver, was
born at Newcastle-on-Tyne in 1808. He was a
pupil of Bewick, and came to London about 1829.
He was much employed on the illustrated journals,
contributing to ' Punch ' and the ' Illustrated
London News ' from their commencement, as well
as to the ' Illuminated Magazine ' and the ' Ladies'
Newspaper.' He died at Brompton in 1860.
LANDELLS, Robert Thomas, the son of
Ebenezer Landells, was born in 1833. He was
a special artist on the staff of the 'Illustrated
London News,' for which he depicted the Crimean,
Danish, Austro-Prussian, and Franco-German Wars.
In his later years he reproduced in oil and water-
colours many of the scenes he had witnessed.
He died in 1877.
LANDERER, Ferdinand, a German engraver,
was born at Stein, in Austria, in 1743. He studied
under Jacob Sohmutzer, and became a member of
the Academy at Vienna, as also a professor at the
Imperial Military Academy. He died in 1796. He
engraved several plates, both as etchings and in the
crayon manner ; among them are the following :
POETEAITS.
Franz Moriz, Count Lacy ; after Konolitz
Joseph Kurz, actor; from his own design.
SUBJECTS.
Samson and Delilah ; after Rembrandt.
Two Landscapes, with ruins and animals ; after Dietrich.
I^andfeld
PAINTERS AND ENGRAVERS.
Laudseer
Two mountainous Landscapes ; after Pillement.
Two large Landscapes, with figures and cattle ; after De
Loutherhourg.
Sixteen plates of Heads ; after M. J. Schmidt.
LANDFELD, Assuerus van. See Londeeseel.
LANDI, Gaspabo, was born at Piaoenza in 1756.
He was a pupil of Pompeo Batoni and Corvi.
Though brought up in the school of the Mannerists
at Rome, he did not follow their principles. His
study of the great artists of the 16th century
caused him to paint in a style in which he united
the broad colouring of the Venetians with the
pleasing chiaroscuro of the Lombards. He is con-
sidered the founder of the modem Italian school.
He was Director and President of the Academy of
St. Luke at Rome, and obtained the first prize at
the Academy at Parma in 1781. He died at Rome
in 1830. There are by him :
The Ascent to Cjilvary.
Florence. Pitti Palace. The Maries at the Tomb.
Fiacenza. Cathedral. The Burial of the Virgin.
LANDI, Giuseppe Antonio, was an architectural
painter of the 18th century. He was a pupil of
Ferdinando Galli, and was received as an Acade-
mician of Bologna.
LANDI, Neeocoio di Baktolommeo, was a
partner of Francesco di Giorgio, from whom he
parted in 1475. He was bom in 1447, and followed
the professions of painting and sculpture ; his death
occurred in 1500 at Siena. The ' Hellespontic Sybil '
in the pavement of the cathedral at Siena was
designed by him in 1483, and the Academy of
that city possesses several pictures by him.
LANDING, Jacopo, called Jacopo di Casbntino,
was a member of the family of Cristoforo Landino,
J of Prato Vecchio, whence he is sometimes known
i as 'Jacopo da Prato Veccliio.' He was bom in
W the first years of the 14th century, at Arezzo, and
was the pupil of Taddeff Gaddi, whom he followed
to Florence, where he founded in 1349 the Company
of Painters under the patronage of the Virgin and
SS. John the Baptist, Zenobio, Reparata, and Luke.
He appears to have remained at Florence until
1354, and then returned to Arezzo, where he super-
intended the rebuilding of the waterworks of the
Fonte de' Guinizzelli. He is recorded as having
executed a large number of frescoes in that city, the
greater portion of which have now disappeared.
Portions of the Duomo Veccliio, the Vescovado,
and the church of San Bartolommeo, at Arezzo,
were decorated by Casentino ; the last-named
building still contains a fresco by him of the
'Dead Christ bewailed by the Virgin and St.
John the Evangelist.' He was the master of Agnolo
Gaddi and Spinello Aretino. Little now remains
of this artist's work, although it is known that he
executed very many frescoes, both in Florence and
in Arezzo. According to Vasari his death occurred
at Prato Vecchio at the age of eighty, and he was
buried in the Camaldolese church of Sant' Agnolo.
The following are some of his paintings:
Florence. Vffizi. Coronation of the Virgin.
„ „ Predella with scenes from the
life of St. Peter and eight
Saints.
London. Nat. Gallery. St. John the Evangelist lifted
up into Heaven.
LANDOLT, Salomon, a German battle, land-
scape, and sporting painter, was bom at Zurich in
1741. He entered the military profession, and
studied painting in Paris with Le Paon. In 1776
he went to Berlin and raised for Frederick II. a
corps of Swiss troops. In 1784 he went to Eglisen
on the banks of the Rhine in command of a body
of volunteers, and in 1799 he was fighting with
the Archduke Charles. In 1803 he returned to
Zurich, and was made a member of the Council.
He died at Andelfingen in 1818.
LANDON, Chaeles Paul, a French liistorical
painter, was bom at Nonant (Orne) in 1760. He
was a pupil of Vincent and of Regnault, and
obtained the ' grand prix ' in 1792. In 1816 he
was appointed Curator of the Louvre Gallery, and
also became a corresponding member of the Insti-
tute. He died in Paris in 1826. Amongst his
chief pictures are :
Dsedalus and Icarus. 1799.
Leda. 1806. (^Louvre.)
Venus and Gupid. 1810.
Paul and Virginia. 1812.
He is, however, better known as a writer on art :
his contributions to literature amounting to more
than a hundred volumes. His chief works are :
' Annales du Muste,' 42 vols. 1800—22.
' Vies et OEuvres des Peintres les plus cSlebres,' 25 vols.
1803—17.
' Galerie Historique des Hommes les plus cSlebres,' 13
vols. 1805—11.
' Grandes Vues pittoresques de la Grece, et -de la Sicile,
et des Sepb CoUines de Rome.' 1813.
' Numismatiqae du Voyage du jeune Anaoharsis.' 1818.
' Choir de Tableaux et Statues des plus celebres Mus&s
et Cabinets strangers,' 2 vols. 1819 — 21.
LANDRIANI, Paolo, born at Milan in 1737,
was a painter and architect, who studied imder
Gonzaga. He was employed at the Soala theatre,
and became reputed as a decorator. He followed
especially the principles of Bibiena, Bernardin, and
Galleavi. Perego and Sanquirioo were his pupils.
He died at Milan in 1839.
LANDRIANI, Paolo Camillo, called Duchino,
was bom at Milan about 1570. He was a scholar
of Ottavio Semini, and painted history with con-
siderable success. There are several altar-pieces
by him in the churches at Milan, of which that
of 'The Passion' is dated in 1602. One of his
best performances is his picture of ' The Nativity,'
in the church of Sant' Ambrogio. He died at Milan
in 1619.
LANDRY, PlEEKE, a French engraver, was born
in Paris about the year 1630, and died there in
1701. He was much employed by the booksellers,
and engraved a variety of frontispieces, portraits,
and other subjects. His best prints are his por-
traits, some of which possess considerable merit.
Among other plates, the following are by him :
poeteaits.
Louis XrV. of France ; after J. Frangois.
Lonis de Bourbon, Prmce of Conti ; after Gribelin.
Charles de Bourbon, Bishop of Soissons. 1660.
Abel Brunier, Physician to the Duke of Orleans. 1661.
Charles Brulart, Marquis of Genlis.
Bustache de La Salle ; after C. Le Felre.
Antoine Godeau, an ecclesiastic ; after Ardissm.
Francois Lescuyer.
SUBJECTS.
St. Jerome.
The Virgin and Child.
Christ and the Woman of Samaria ; after Alhani.
The Head of St. John the Bapt.st; after Annibale
^ Carracd.
LANDSEER, Chaeles, a subject painter, was
bom in 1799. He received his early instruction
from his father, John Landseer, the engraver, and
11
Laudseer
A BIOGBAPHICAL DICTIONARY OF
Landeeer
from Haydon. In 1816 he entered the schools of
the Royal Academy, where he first exhibited in
1828. He went to Portugal with Lord Stuart de
Rothesay, and also to Rio de Janeiro, where he
made a large number of sketches. He was elected
an Associate of the Academy in 1837, and an
academician in 1846. Prom 1851 to 1874 he
conducted the instruction in the antique school of
the Academy, as Keeper. He died in London
in 1879, leaving £10,000 to the Royal Academy
for the foundation of ' Landseer Scholarships.'
Amongst his chief works are :
London. Nat. Gallery. Clarissa Harlowe in the Spong-
ing House. 1833.
„ „ The Sacking of Basing House.
1836. (Lent to the Corporation
0/ Sheffield.)
, „ Bloodhound Bitch and Pups.
1839. (Lent to the Walker
Art Gallery, Liverpool.)
„ „ The Pillaging of a Jew's House.
1839. {Lent to the Corporation
of Ihindee.)
„ South Kensinflon \ The Temptation of Andrew
Museum. j Marvell. 1841.
„ „ Sterne's ' Maria.'
„ „ The Hermit. 1841.
LANDSEER, Sir Edwin Henby, the eminent
animal painter, was the youngest son of John
Landseer, A.R.A., and was born at 83, Queen Anne
Street East, London, on the 7th of March, 1802.
His artistic education was begun by his father at a
very early age, but not before his innate genius
had shown itself in sketching and drawing, and the
boy was sent into the fields to sketch from nature
sheep, goats, and donkeys. ^ In the South Kensing-
ton Museum are nine drawings, executed at a very
early period of his life, some of them having been
made when he was but five years old. He also
produced several etchings. His first appearance in
public occurred in 1815, when on the walls of the
Royal Academy Exhibition appeared a ' Portrait
of a Mule,' and ' Portraits of a Pointer Bitch and
Puppy.' In the same year he was advised by
Haydon to study the Elgin Marbles, and to dissect
animals, though he does not seem to have studied
under him, as did his brothers Thomas and Charles.
In 1817 he exhibited the portrait of 'Brutua,'
having in the preceding year entered the Royal
Academy as a student. In 1818 he exhibited
' Fighting Dogs getting Wind,' at the Exhibition of
the Society of Painters in Oil and Water-Colours ;
and at the Academy a 'Portrait of a Donkey.'
In 1819, at the British Institution was 'The Cat
disturbed ; ' in 1820, ' Alpine Mastiffs reanimating a
distressed Traveller ; ' and in 1821, ' The Seizure of
a, Boar,' and 'Pointers To-ho.' In 1822 he re-
ceived a premium of £150 from the directors of
the British Institution for 'The Larder invaded.'
In 1824 he exhibited the ' Cat's Paw,' and in the
same year he paid his first visit to the Highlands
in company with Leslie. They visited Glasgow,
Loch Lomond, Loch Katrine, and Loch Earn, and
paid a visit to Sir Walter Scott at Abbotsford. In
1826 ' Taking a Buck,' and ' The Widow,' were his
contributions to the Academy, and ' The Poacher '
to the British Institution. In 1826 appeared 'The
Dog and the Shadow ; ' and in the same year he
became an Associate of the Royal Academy, being
then twenty-four, the earliest age at which the
laws of that institution admitted of his election.
In 1827 were exhibited ' The Chief's Return from
Deer-stalking,' 'The Monkey who had seen the
12
World,' now the property of Lord Northbrook, and
'Chevy Chase.' In 1829 he produced 'The High-
land Whiskey-Still,' the property of the Duke
of Wellington, and 'A Fireside-Party.' In 1831
he was elected a Royal Academician, and in the
same year he exhibited at the British Institution
' High Life ' and ' Low Life,' of which latter Ruskin
says, "it is the intensest rendering of vulgarity
absolute and utter with which I am acquainted.''
In this year appeared also ' Poachers deer-stalking ; '
and ' Too Hot.' In 1832 was exhibited ' Spaniels
of King Charies's Breed,' or ' The Cavalier's Pets,'
and in 1833 ' The Harvest in the Highlands,' and
'Jack iu Ofiace.' In 1834 appeared 'Suspense,'
'The Highland Shepherd Dog rescuing a Sheep
from a Snow-drift ; ' ' Bolton Abbey in the Olden
Time,' the property of the Duke of Devortshire,
and 'Highland Breakfast.' In 1835 came 'The
Highland Drovers' Departure,' 'A Sleeping
Bloodhound,' and 'Comical Dogs.' 'The Sports-
man's Annual' was published in 1836, with illus-
trations by Edwin Landseer, A. Cooper, and C.
Hancock. In 1837 came ' The Highland Shep-
herd's Chief Mourner,' which Ruskin in his
'Modern Painters' praises so highly, and 'The
Shepherd's Grave.' The portraits of the Mar-
quis of Stafford and Lady Evelyn Gower, one
of Landseer's best portrait pictures, appeared in
1838, together with ' There's Life in the old Dog
yet,' and ' A distinguished Member of the Humane
Society.' 'Dignity and Impudence,' with the title
' Dogs,' was first shown at the British Institution
in 1839, in which year was exhibited also 'Van
Amburgh and his Animals,' now in the Royal
Collection at Osborne House. In 1840 ' The Lion
Dog from Malta,' 'Laying down the Law,' and
' Roebuck and Rough Hounds,' appeared at the
Academy. 'Otter and Salmon,' in 1842, was the
fruit of one of those visits to the Highlaada
which had become annual. In' the same year
were exhibited the ' Highland Shepherd's Home ; '
' Pair of Brazilian Monkeys ; ' ' Breeze,' a re-
triever; 'Bos,' a greyhound belonging to Prince
Albert; and 'The Sanctuary.' In 1844 he ex-
hibited ' The Otter speared,' ' Coming Events cast
their' Shadows before,' sometimes called 'The
Challenge,' and 'Shoeing.' 'Peace' and 'War'
appeared in 1846, as did also 'The Stag at Bay.'
' The Drive,' produced in 1847, was a hunting-
piece, representing the shooting of deer in a pass
of Glenorchy Forest. The pictures of 1848 were
' A Random Shot,' one of the most pathetic of
Landseer's works ; ' The old Cover Hack ; ' Alex-
ander and Diogenes ; and the 'Sketch of my Father.'
These were accompanied by a series of etchings by
C. G. Lewis, styled ' The Mothers,' from drawings
made by Landseer in 1837. In this year also he
received a commission to paint three subjects con-
nected with the chase for the Peers' Refreshment
Room in the new Houses of Parliament, but the
matter came to nothing, as the House of Commons
refused to vote the money. In 1849 Landseer paid
his first visit to Belgium to collect materials for
the ' Dialogue at Waterloo,' which appeared in
1850, in which year he was knighted. ' The Mon-
arch of the Glen,' ' The Last Run of the Season,'
and ' Titania and Bottom,' were the chief pictures
of 1851. To 1853 belong ' The Combat,' ' Night and
Morning,' and ' Children of the Mist.' In 1856 he
contributed ' Saved ' to the Academy Exhibition. In
1857 came 'Scene in Braemar,' a magnificent stag ;
' Rough and Ready,' a portrait of a favourite mare ;
Xandseer
PAINTERS AND ENGRAVERS.
Iiandseer
and ' Uncle Tom and his Wife for Bale.' In 1868
appeared ' The Maid and the Magpie ; ' and ' Deer
browsing,' an immense cartoon in coloured chalks.
In the British Institution of the same year were
'Twa Dogs,' and a portrait of Sir Walter Scott.
The year 1 860 produced ' A Flood in the Highlands ; '
1861, ' The Taming of the Shrew ; ' and 1864, ' Man
proposes, God disposes,' an Arctic incident, sug-
gested by the finding of the relics of Sir John
Franklin. In 1865 was exhibited ' The Connoisseurs '
(his own portrait) ; in 1867, ' Her Majesty at
Osborne ; ' and in 1869 his last great picture, ' The
Swannery invaded by Sea BagTes.' In 1869 the
Lions at the four corners of the Nelson Monument
were uncovered. On the death of Sir Charles
Eastlake Landseer declined the Presidency of the
Royal Academy, and in 1865 he received the large
gold medal at the Paris Universal Exhibition. His
later years were clouded by fits of depression, and
he died at St. John's Wood, London, on the 1st
of October, 1873, and was buried in St. Paul's
Cathedral. The Winter Exhibition of the Royal
Academy in 1874 was entirely devoted to his
works, when 461 pictures, drawings, and sketches
were exhibited, besides many touched proofs of
engravings after his works. A complete catalogue
of Landseer's works and of the engravings after
them has been compiled by Algernon Graves.
Chief among the engravers are his brother Thomas
Landseer, Charles George Lewis, Charles Heath,
Robert Graves, John Burnet, William Finden,
Samuel Cousins, Francis Holl, James Stephenson,
John Outrim, and Thomas L. Atkinson. A uniform
series of small engravings in mezzotint has been
in course of publication since 1880 by Messrs.
Henry Graves and Co.
The following are the principal pictures by him
in public and private collections :
Cbatsworth. House. Bolton Abbey in tie Olden
Time.
„ „ Laying down the Law. 1840.
Edinburgh. Nat. Gallery. Rent Day in tbe Wilderness.
London. Nat. Gallery. Low Life— High Life. 1831.
„ „ Highland Music. 1830.
„ „ The Hunted Stag. 1833.
„ „ Peace. 1846.
,. „ War. 1846.
%., „ „ Spaniels of King Charles's
Breed.
„ „ The Sleeping Bloodhound.
„ „ Dignity and Impudence.
„ „ The Defeat of Comus. {Sketch.)
„ „ Shoeing.
„ „ Highland Dogs.
.,» ,, Alexander and Diogenes.
„ „ The Maid and the Magpie.
■t „ A Dialogue at Waterloo. {Lent
to the National Gallery,
Duhlin.)
" ''""''ii^fl^HighlandBreatfast.
„ „ The Highland Drovers' De-
parture.
„ „ The Dog and the Shadow.
„ „ A Fireside Party.
„ „ There's no place like Home.
„ „ The Twa Dogs.
„ „ A Jack in Office.
„ „ The Old Shepherd's Chief
Mourner.
„ „ Tethered Bams.
„ „ Sancho Panza and Dapple.
„ „ The Angler's Guard.
A Naughty Child.
„ „ Suspense.
„ „ Comical Dogs.
„ „ The Eagle's Nest.
London. Sovth Kensing- \ Young Boebuck and Bough
ton Museum. J Hounds.
„ National Portrait ) „. ,„ ,, „ j.j.
Gallery, j Sir Walter Scott.
„ „ John Allen, M.D.
„ Buckingham Palace. The Defeat of Comus, (Fresco.)
„ Apsley House. The Highland Whiskey-Still.
„ „ Van Amburgh and his Animals.
Osborne. House. Van Amburgh and his Animals,
Windsor. Castle. Bos.
„ „ The Sanctuary.
,, „ Dash, Hector, Nero, and Lorie.
LANDSEER, Gkoeqe, the only son of Thomas
Landseer, was born about 1834. When about
twenty years of age he went to India, and whilst
there he painted a great many portraits of
Rajahs and other distinguished natives, and also
made a large series of water-colour drawings of
views in Cashmere and the hill country, which he
brought hack with him on his return to England
about 1870, after which date he was an invalid and
did little or no work. He died in London in 1878.
LANDSEER, Henry, a landscape painter, was a
brother of John Landseer, and a frequent contributor
to the Exhibitions, especially to that of the Society
of British Artists. His name appears at the British
Institution Exhibitions of 1821, 1822, and 1823.
LANDSEER, Jessica, a daughter of John Land-
seer, who died at Folkestone in 1880, also used
the painter's brush and the etching-needle. She
etched a few designs after her brother Edwin.
LANDSEER, John, a line-engraver, was born
at Lincoln in 1769. He was the son of a jeweller,
and was apprenticed to William Byrne, the land-
scape engraver. The earliest works on which he was
engaged were the illustrations afterDeLoutherbourg
for Macklin's Bible, and Bowyer's ' History of
England.' These were followed in 1795 by Moore's
' Twenty-five Views in the Southern Part of Scot-
land.' He devoted considerable attention to a
series of engravings of animals after the great
masters, which were afterwards published in a
collected form. In 1806 he delivered a course of
lectures on engraving at the Royal Institution,
and in 1802 he was elected an Associate Engraver
of the Royal Academy. He had previously
attacked the Academy on account of the total
exclusion of engravers from its honours, and his
election did not prevent his continuing to urge
their claims to full membership. Antiquarian
pursuits had a great attraction for him, and he
published ' Observations on the Engraved Gems
from Babylon' (1817), and ' Sabsean Researches'
(1833). He continued to exhibit at the Academy up
to 1861. He died in London in 1852, and was buried
at-Highgate Cemetery. Two of his sons, Edwin and
Charles, became Royal Academicians, and a third,
Thomas Landseer, followed in his father's foot-
steps, and became an eminent engraver.
LANDSEER, Thomas, the eldest son of John
Landseer, was born in London in 1795, and was
brought up by his father to the profession of an
engraver ; he also studied, with his brother Charles,
under Haydon, by whose instruction he made chalk
drawings from the cartoons of Raphael. His first
engraving on copper was, it is said, a ' Study of
the Head of a Sibyl,' after Haydon, which ap-
peared in 1816; and from that time he continued
to engrave diligently through a long life, the labours
of which were somewhat tardily recognized by the
Royal Academy in 1868, when he was elected an
Associate Engraver. He died in London in 1880.
Thomas Landseer's engravings are for the most
13
Iiandtslieer
A BIOGRAPHICAL DICTIONARY OF
Iianffanco
part from the works of Ms brother Edwin, and it
is no disparagement to the latter to say that his
pictures owe much of their popularity and' public
appreciation to the faithful and sympathetic ren-
dering which they have received at the hands of
the engraver. The following are after Sir Edwin
Landseer:
A Bull ; an etching. 1811.
To-Ho ; an etching. 1823.
Ratcatchers. 1823.
Brutus. 1824.
Neptune. 1824.
Intruding Puppies. 1827.
The Sleeping Bloodhound. 1837.
Odio {the head only engraved). 1839.
A Forest Joust (o portion of the picture 'None but the
Brave deserve the Fair'). 1839.
A Distinguished Member of the Eoyal Humane Society.
1839.
Dignity and Impudence. 1841.
Eos. 1843.
Lion Dog from Malta. 1843.
Laying down the Law. 1843.
Not caught yet. 1845.
The Combat ; an etching. 1845.
The Stag at Bay. 1848.
Alexander and Diogenes. 1852.
The Monarch of the Glen. 1852.
Dear Puss. 1854.
Children of the Mist. 1856.
Doubtful Crumbs. 1862.
Man proposes, God disposes. 1867.
The Sanctuary. 1869.
The Challenge. 1872.
Deer Family. 1873.
Indian Tent, Mare and Foal. 1875.
The Font. 1875.
Besides these must be mentioned his engraving
of the ' Horse Fair,' after Rosa Bonheur ; ' Ten
Etchings illustrative of Coleridge's ' Devil's Walk,'
1831 ; ' Monkeyana,' 1827 ; and ' Characteristic
Sketches of Animals,' 1832.
LANDTSHEER, Jan de, a Flemish painter, born
at Baesrode in 1760, was a pupil of the Antwerp
Academy in 1779. He painted portraits, and his-
torical and genre subjects. At Brussels is a picture
of ' Venus clipping the Wings of Love ; ' and at
Haarlem 'Two Cliildren seated.' He died in 1828.
LANDULFO, Pompbo, a Neapolitan painter,
was born about the year 1515. According to
Dominici, he was of ancient family, and showing
an early disposition for art, was placed under
the care of Gian Bernardo Lama, where he dis-
covered a superior genius, and whilst he was yet
very young', painted an altar-piece for the church
of San Matteo, at Naples, representing the ' Virgin
with the Infant Jesus in the clouds, surrounded by
angels.' He afterwards painted a fine picture for
the church of La Pieta, of the ' Holy Family, with
St. Francis, St. Catharine, and St. Lucia.' He died
at Naples in 1590.
LANE, John Bryant, an historical painter, was
born in Cornwall towards the end of the 18th
century. Originally intended for the medical pro-
fession, he was enabled to study art through the
patronage of Lord de Dunstanville. He exhibited
some pretentious works at the Royal Academy from
1808 to 1813, and then went to Rome, where during
the next fifteen years he was chiefly employed on
an ambitious picture, ' The Vision of Joseph,' which
proved a failure. He last exhibited at the Academy
from 1831 to 1884.
LANE, Richard James, an engraver, was born
in 1800. His mother was a niece of Gainsborough,
and his father a prebendary of Hereford. At the
14
age of sixteen he was apprenticed to Charles
Heath, under whom he made good progress, but
owing to the decadence of line engraving, he
devoted himself to lithography, which he practised
with much success. Among his works were a
series of sketches by Gainsborough, followed by
•' Imitations of British Artists,' and ' Sketches by
Sir Thomas Lawrence.' He was appointed litho-
grapher to the Queen, for whom he executed many
portraits after Winterhalter and Chalon. In 1827
he was elected an Associate Engraver of the Royal
Academy. He died at Kensington in 1872.
LANE, Samuel, a portrait painter, was bom at
King's Lynn in 1780. From his childhood he was
deaf and almost dumb. His instructors in art were
Parington and Sir Thomas Lawrence. The fidelity
of his likenesses procured him a large practice, and he
contributed many portraits to the Royal Academy
from 1804 to 1857. He retired in 1853 to Ipswich,
where he died in 1859. Amongst his works are :
G. Crompe. 1813. (Cloth-ioorkers' Hall, London.)
Thomas Claxkson. ( Wisbeach Town Hall.)
Lord De Saumarez. 1838. {United Service Club,
London.)
John Kaye, Bishop of Lincoln. (EiseKohne Palace.)
Lord George Bentinck. {King's Lynn Town Hall.)
LANE, Solomon de. See Db Lane.
LANE, Theodore, a, subject painter, was born
at Isleworth in 1800. He originally studied en-
graving, which he early quitted for portrait paint-
ing, exhibiting at the Royal Academy from 1816.
His forte, however, was in humorous subjects, and
he was attaining some position when his death
occurred in 1828 through falling through a skylight
in Gray's Inn Road, London. His best works are :
The Christmas Present. 182T.
The Gouty Angler. 1828. {National Gallery ; but lent
to the Corporation of Stockport.)
Disturbed by the Nightmare. (1828.)
LANE, William, a portrait painter, was born
in 1746. He for some years practised as a
gem engraver, but afterwards devoted himself
to portraits in crayons. He had a large circle of
sitters, and exhibited at the Royal Academy from
1785 to 1815. He died at Hammersmith in 1819.
LANEN, Van dee. See Van deb Lanen.
LANET'TI, Antonio, a painter, was a native of
Bugnatt). He was a pupil of Gaudenzio, and had
a reputation in Ferrara. He died about 1530.
LANEDVILLE, Jean Louis, a French portrait
painter, was a native of Paris, and a pupil of
David. He exhibited at the ' Exposition de la
Jeunesse ' in 1783 and 1789, and at the Salon from
1791 to 1817. He died in 1826.
LANFRANCO, Giovanni, called Cavalieke "
Giovanni di Stefano, was born at Parma, on the
same day with Domenichino, in 1581. His parents
placed him, when a boy, as page to the Count
Scotti at Piacenza. While in the service of that
nobleman he was perceived drawing with a piece of
charcoal the frieze of one of the apartments ; and
the Count, desirous of encouraging his apparent
disposition for art. introduced him to Agostino
Carracoi, who was at that time employed by the
Duke Ranuccio at Ferrara. The young pupil
made rapid progress under so able an instructor,
and before he was sixteen he painted a picture of
the 'Virgin and several Saints,' which was deemed
worthy of being placed in the church of Sant'
Agostino at Piacenza. By the advice of Agostino
Carracci, he studied with particular attention the
works of Correggio ; but though he attained to
Ijanfranco
PAINTERS AND ENaRAVERS.
Lang:
some approach to his model in the grandeur of
his conceptions and the bold variety of his fore-
shortening, he could not imitate the tender beauty
of his expression and the graceful turn of his
forms, the peculiar characteristics of the works of
Correggio. Lanfranco was twenty years old when
death deprived him of the lessons of Agostino.
He then went to Rome, and became a student under
Annibale Carracoi, who employed him in the Far-'
nese Gallery, and in the church of St. Giacomo,
where he executed some frescoes from Annibale's
designs. The works of Raphael were also the
objects of his attentive admiration. In conjunc-
tion with his compatriot and fellow-student, Sisto
Badalocohio, he etched the history of the Bible,
from Raphael's Loggie in the Vatican, which they
dedicated to Annibale. After the death of that
master, Lanfranco was employed by Cardinal
Sannese in some works, which first brought him
into public notice at Rome, and he increased his
reputation by his fresco paintings in the chapel of
Buon Giovanni in the church of Sant' Agostino,
the principal picture representing the ' Assumption
of the Virgin.' He was taken under the protection
of Paul v., who employed him in his chapel in
Santa Maria Maggiore, and in the great saloon at
the Quirinal, where he painted 'Moses striking
the Rock,' 'Abraham sacrificing Isaac,' and 'The
Flight into Egypt.' It was about this time that,
by the death of Cardinal Montalto, the patron of
Doraenichino, he procured, through intrigue, the
commission to paint the cupola of Sant' Andrea
della Valle, which had been promised to Domeni-
chino, who had previously painted the four angles.
However one may lament that the work was not
coiapleted by that master, it is but justice to
acknowledge that on this occasion Lanfranco sur-
passed himself. In wrestling with so formidable
an antagonist, he assembled and put forth all his
powers. This celebrated work represents the
' Virgin seated in the Clouds, contemplating the
figure of our Saviour,' which is in the upper part of
the composition ; on one side are St. Peter and St.
Gaetan ; and on the other, St. Andrew and other
Saints, the principal light emanates from a lumin-
ous glory surrounding the body of Christ, and
spreads itself in tender and harmonious sufEusion
over the whole composition. The grandeur of the
arrangement, the boldness of the design, the
admirable disposition of the groupsj. and the
intrepid daring of the ' di sotto in su,' rank this
performance among the most extraordinary
achievements of the art of that description, after
Correggio's cupola at Parma. The increasing fame
of Lanfranco spread to Naples, whither he was
invited, in 1646, to paint the cupola of San Gen-
naro, which occupied him a year and a; half; he
there depicted the 'Ascension of the Virgin,' with
a countless host of Saints. This great work has
been destroyed by an earthquake, except the
angles; which remain. In the church of San
Martino also he decorated the cupola with ' The
Ascension,' the Apostles, and the Miracles of
Christ. Lanfranco was at Naples when Domem-
chino was engaged to paint the cupola of the
Treasury, in which he had made considerable pro-
gress when the cabals of Lanfranco and some of
the Neapolitan artists occasioned the work to be
suspended. After the death of Domenichino, Lan-
franco was employed to finish it: he destroyed
all that had been done except the angles, which
are still the admiration of the intelligent observer,
Amsterdam.
Berlin.
Brunswick.
Dresden.
Flotence.
Jliuseum.
Gallery.
Gallery.
London.
Madrid.
Munich.
Naples.
Jf^at. Gallery.
Gallery.
and loudly proclaim the transcendent superiority
of their author over his malevolent competitor.
The troubles which soon after took place at Naples
occasioned Lanfranco to return to Rome during the
pontificate of Urban VIII., who employed him to
paint a picture for the basilica of St. Peter, repre-
senting that apostle walking on the sea, which has
been engraved by Gerard Audran ; and in a series
of pictures of the 'Passion of Christ,' for the
chapel of the Crucifix. These productions were so
much to the satisfaction of the Pope that he con-
ferred on the painter the order of knighthood. The
last works of Lanfranco were his pictures in the
tribune of San Carlo ai Catinari, and they are the
feeblest of his performances. He died at Rome in
1647. The following are some of his principal
pictures :
St. John the Baptist.
Mary Magdalene.
The Finding of Moses.
Head of a young Man.
Gallery. The Repentance of St. Peter.
„ „ Four old Magicians.
Edinburgh. Sat. Gallery. St. Christopher.
Uffizi. The Magdalene.
., His own Portrait.
FUti Palace. The Martyrdom of St. Margaret
of Cortona.
Head of Saint.
St. Peter and St. Jude.
The Burial of Julius Csesar.
Banquet of the Patricians.
„ A Eomau Sea-Fight.
„ Consulting the Auspices.
„ Roman Soldiers receiving
Wreaths.
Gallery. The Angel visiting Hagar.
„ Mater Dolorosa.
Christ on the Mount of Olives.
Frescoes in the cupola.
The Pool of Bethesda. (Fresco.)
Frescoes.
Virgin glorified, rescuing a
Child.
Hermiuia with the Shepherds.
Crucifixion.
The Glory of the Blessed.
{Fresco.)
Louvre. Hagar in the Desert.
„ St. Peter.
„ The Separation of St. Peter
and St. Paul by the Soldiers.
Christ surrounded by Saints.
Death of St. Alexis.
[ Fresooesi
Frescoes.
History of Moses.
The Last Supper.
St. Peter succouring St. Agnes.
The Deliverance of St. Peter.
St. Peter.
Virgin and Child appearing to
St. Paul and Si. Anthony.
There are several etchings by this master, which
are executed in a slight, spirited manner. The
following are by him, and they are variously signed,
L. F., Gio L., Gio Lafo, Giovanni la, etc. :
Twenty-eight plates of Biblical subjects ; after Raphael.
The Messengers of Moses returning from the Land of
Canaan.
An Emperor haranguing his Soldiers.
Part of the plates engraved conjointly with Sisto
Badalocchio, from Raphael's Paintings in the Vatican.
LANG, Gboro Jakob, a painter of Nuremberg,
was born about 1680. He painted historical sub-
jects, and landscapes with animals. He became
director of the Art Academy of Nuremberg, and
died in 1740.
15
Paris.
Parma,
Piacenza.
Rome.
Gesii.
Apostoli.
S. Martino.
S. Chidra.
Cathedral,
Ognhsanti.
Cathedral.
S. Andrea della ]
Valle.
S. Agostino.
„ Corsini Palace.
„ ColonTia Palace.
Stockholm. (rallery.
Vienna.
Lang
A BIOGRAPHICAL DICTIONARY OF
Langep
LANG, MORITZ, a German engraver, flourished
about 1670. He chiefly resided at Vienna, and
Was much employed by the booksellers, for whom
he engraved a number of frontispieces, book-
plates, and portraits, of which the last were the
best. He worked with the graver, and executed
several of the plates for Priorato's ' History of the
Emperor Leopold.'
LANGE, Angb Louis Janet. See Janet
Lange.
L'ANGE, FRANgois, who -was bom at Anneoy
in Savoy, in 1676, was a pupil of Andr6 Cheville
at Turin, where he was much patronized. He also
painted with much success at Bologna, where he
joined the Society of St. Philip Neri in 1735, and
died in 1756. His* chief merit, as an artist, was
in small Scriptural pieces, which Lanzi saw at
Vercelli, and of which he speaks in terms of
commendation.
LANGE, Ekiedrich, a German painter of Scrip-
tural subjects, was born at Plau, in Mecklenburg,
in 1834, and painted under the influence of
Cornelius. His ' Christ on the Cross ' and ' Faith,
Love, and Hope ' are in the Schwerin Gallery. Hs
died at Strassburg in 1875.
LANGE, Jan Hendrik, was a Flemish historical
painter, who was a pupil of Van Dyck, and died at
Brussels in 1671.
LANGE, Joseph, an Austrian painter, was born
at Wurzburg in 1751. On the death of his father
he went to Vienna in 1767,. and attended the Art
School. He was better known as an actor, and
painted several portraits of dramatic celebrities.
He died at Vienna in 1831.
LANGE, Julius, was bom at Darmstadt in
1817. He was instructed in the rudiments of art
by Miiller, the Inspector of the Gallery, and at the
age of fifteen he made designs for a work of his
brother Ludwig, entitled ' Views of the Chief
Towns in Germany,' which was published at
Darmstadt in 1834. In this year he went to
Munich, and studied historical painting at the
Academy. In 1835 he went to Diisseldorf, and
visited Switzerland with J. W. Schirmer. In
1840 Rottmann persuaded him to return to Mnnich,
where he became highly esteemed for his mountain
landscapes. In 1854 he visited Upper Italy, wliere
he made a number of sketches for the Academy of
Venice, of which he was made a member. In
1857 he was appointed drawing-master to the
Archduchess Charlotte, Empress of Mexico. In
1858 he entered the service of King Maximilian of
Bavaria, and in 1867 was appointed court painter
to Louis II. He was a famous draughtsman in
crayons. He died at Munich in 1878. Some of
his principal works are :
Landscape in Upper Italy.
Two Views of the Gossau Lake. {Neie Pinakoihek,
Munich.)
View near Partenkirchen. (The same.)
The Goll.
TVatzmaun in the Tyrol.
LANGE, LiiDWiQ, born at Darmstadt in 1808,
was an architect and painter. He studied land-
scape painting under Rottmann, with whom he
visited Greece, where he stayed three years as
master of design at Athens. He executed a series
of Greek landscapes which are of considerable
merit. He died at Munich in 1868.
LANGE, S0REN L/ESS0E, a Danish painter, was
born at Faaborg, in the island of Funen, in 1760.
He entered the Academy at Copenhagen in 1781,
16
and his merit was deservedly rewarded with several
medals of the Academy, and the gold medal of
the court. His landscapes and portraits are dis-
tinguished for their beauty. He also etched on.
copper. He died in 1828.
LANGE JAN. See Bockhorst, Johann von.
LANGE PEER. See Aartsen.
LANGENDYK, Dirk, born at Rotterdam in
1748, was a scholar of D. A. Bisschop. He
designed and painted combats and battles, in the
composition of which he showed extraordinary
skill. He depicted the passions with great truth,
and gave to the smallest details of his subject the
highest degree of finish. His drawings are par-
ticularly admired, and some of his landscapes with
cows and horses have been engraved. His paint-
ings in oil are not numerous ; they are, like his
drawings, skirmishes and battles, by sea and land.
In the Rotterdam Museum are pictures of 'A
Camp,' ' A Cavalry Charge,' and ' A Wounded
General,' and twenty-one etchings. He died at
Rotterdam in 1805.
LANGENDYK, Jan Antonie, son of Dirk
Langendyk, was born at Rotterdam in 1780. He
went a voyage to St. Domingo, but afterwards
returned to his own country, where he lived suc-
cessively at Rotterdam, The Hague, Brussels, and
Amsterdam, at which latter place he died in 1818.
He painted in the style of his father, and has left
some good engravings.
LANGENHOPFEL, Johann Joseph, was born
at Diisseldorf in 1750. After receiving his educa-
tion in his native city, he made several etchings
after the Italian masters, in which he displayed
great proficiency. He became court painter at
Mannheim, and afterwards director of the Gallery
at Vienna, where he died in 1807. Among his
historical paintings and portraits are:
The Rape of the Sabines.
Venus binding Cupid apprentice to Eiou.
Portrait of the Emperor Leopold II.
Portrait of Augusta Wilbelmina, Queen of Bavaria.
His etchings are entitled :
' Eecueil des Dessins graves d'apres les fameux Maitres
k Diisseldorf,' 1780.
LANGER, Johann Peter von, was born at
Caloum, near Diisseldorf, in 1766. He studied at
the Diisseldorf Academy under Krahe, and became
professor in 1784, and director in 1789 ; as well as
director of the Gallery. He visited Holland and
Paris, and was afterwards appointed director of
the Academy, which was founded at that time at
Munich. He died at Munich in 1824. He was
the follower of a stifE classicism, and though his
religious and historical subjects are of excellent
colouring, his compositions are cold and too
studied. Many of his works are in the Gallery at
Schleissheim. Among his best paintings are :
Six subjects from the fable of Psyche. (A Saloon at
Barmen.)
'Let the Little Children come unto Me.' (School-Chapel
at Munich.)
Portrait of Queen Theresa of Bavaria.
There are fifty-six etchings by him, of which the
most important are :
Mercury cutting off the Head of Argus ; afier Annihale
Carracci.
The Saviour with the Apostles ; after Marc-Antonio.
The same subject ; after his own design,
LANGER, Robert von, a German historical
painter, born at Diisseldorf in 1783, was instructed
by his father Johann Peter von Langer, whom he
Langer
PAINTERS AND ENGRAVERS.
Lauglois
accompanied to Paris, from whence he went
afterwards to Italy, arid stayed there one year.
On liis return to Munich he became professor of
the Academy in 1806 ; in 1827, director of the
Royal Cabinet of Design ; and in 1841, director
of the Central Gallery. He executed a series of
pen and ink drawings for Dante's ' Divina
Coramedia.' He died at Haidhausen in 1846.
Among his paintings are :
Haidhausen. Duke Mao:- 1 ^^^^^^^_
tmiUans. )
Munich. Ducal Palace. Frescoes.
„ Frauenkinhe. The Descent from the Cross.
""X^rlst-FrancisofAssisi.
„ Hospital Church. The Seven Works of Mercy.
Schleissheim. Gallery. The Education of Bacchus.
„ „ The Entombment.
„ „ The Adoration of the Kings.
„ „ Madonna, St. Gordianas and
Epimachus.
Stuttgart. Gallery. Virgil leading Dante into Hell .
Among his best etchings is that of ' St. Jerome,'
after Correggio.
LANGER, Sebastian, an Austrian engraver, was
born at Troppau in 1772, and was educated in the
Academy of Vienna. The year of his death is not
known. He worked chiefly for the booksellers,
though he also executed some plates, among which
were :
The Eeturn of the Prodigal ; after Batoni.
The Quack ; after G. Dou.
The Old Jew ; after Hoogstraeten.
St. Francis ; after Garracci.
The Prophet Isaiah ; after Raphael..
The Dentist ; after I, van Ostade.
LANGETTI, Giovanni Battista, was born at
Genoa in 1635. He was first a scholar of Pietro
da Cortona, but afterwards studied under Giovanni
Francesco Cassana. Although celebrated by the
,poet Boschini, his powers appear to have been
chiefly confined to heads and busts of old men,
of which there are many in private collections in
the Venetian States,' and in Lombardy. Lanzi
notices a picture by him of ' The Crucifixion,' in
the church of Santa Teresa at Genoa. In the
Dresden Gallery is a picture of ' The Punishment
of Marsyas,' and in the Brunswick Gallery is one
of 'Archimedes.' He died at Venice in 1676.
LANGEVELT, Rutgee van, was born at Nym-
wegen in 1635, and was a pupil of the Academy of
that town. Frederick William, Elector of Branden-
burg, sent for him to Berlin, where he appointed
him painter, architect, and mathematician to the
court, and director of the Academy. In the Court
House at Nymwegen is a historical picture by this
artist. He died at Berlin in 1695. He had a son
Wilhelm, who was a portrait painter at Berlin.
LANGJAN, Rbmigius, a painter of the 17th
century, was one of the best pupils of Van Dyck.
In the Vienna Gallery is a picture by him of ' Herse
going with her sisters to the Temple of Minerva.'
He died in 1670, or 1671.
LANGLACB, Jean Baptistb Gabriel, a French
landscape painter, was bom in Paris in 1786. He
exhibited at the Salon from 1817 to 1845, and also
painted upon porcelain at the manufactory at
Sevres. He died at Versailles in 1864.
LANGLEY, Thomas, a brother of Batty Langley
the architect, resided in London during the first
part of the last century. There are some plates of
antiquities by him, and he published, in conjunc-
tion with his brother, several works on Gothic
VOL. 11. 0
architecture, with the plates designed and engraved
by himself. He died in 1751.
LAN6L0IS, Charles, a battle and panorama
painter, was born at Beaumont, Calvados, in 1789.
He first attended the Polytechnic School, and after-
wards studied under Girodet, Gros, and Horace
Vemet. He travelled in Algeria and the Crimea,
and died in Paris in 1870. At Versailles are pictures
of the ' Battles of Castella,' ' Smolensk,' ' Polotsk,'
and ' Borodino,' and 'The Taking of Morea.' His
best panoramas were the ' Battle of Eylau,' the
' Battle of the Pyramids,' the ' Battle of Solferino,'
and the ' Burning of Moscow.'
LANGLOIS, Claude Louis, called Langlois de
Sezanne, a French portrait painter, was born at
Sezanne in 1757. He was instructed by Beaufort,
and painted the portraits of several famous French
generals, many of which were engraved by Voissart
for difEerent publications. He was director of the
Drawing School at Sens till 1830, when he removed
to Paris. He died in 1845.
LANGLOIS, EusTACHB Htacinthe, a French
landscape painter, draughtsman, and engraver, was
born at Pont-de-l'Arche in 1777. His art training
was due to Lemonnier and David. During the
Revolution he was imprisoned, and was also drawn
for military service, but owed his escape to the
Empress Josephine. He afterwards settled 'at
Rouen, where he taught in the Academy. He
devoted great attention to archeology, and pub-
lished many works in connection with it, which he
illustrated himself. He died at Rouen in 1837.
His chief publications were :
' Description historique des Maisons de Rouen.' 1821.
' Essai sur la Peinture sur verre.' 1832.
' Essai sur I'Abbaye de Fontenelle.' 1834.
' Stalles de la OathSdrale de Rouen.' 1838.
'Essai sur la Calligraphie des Manuscrits du Moyen,.
Age.' 1841.
' Essai historique sur les Danses des Morts.' 1851.
LANGLOIS, Franqois, called Ciartees, was a
French engraver and printseller, who died in Paris
in 1748. He has left the ' History of Psyche,' a
series of thirteen plates after Raphael, and the
'Theological and Cardinal Virtues,' after the pic-
tures at Fontainebleau.
L'ANGLOIS, GuiLLERMO, a French artist, with
whom Alexander Gonzalez Velazquez painted from
the designs of Mengs a ceiling in the Palace at
Madrid about 1750.
LANGLOIS, Jean, a French engraver, was born
in Paris in 1649. After learning the rudiments
of design in his native city under Vien, he went
to Rome, and became a member of the French
Academy there. He died about 1712. He engraved
several plates from the antique statues, and some
architectural subjects from Andrea Palladio. There
are also by him a few portraits, and other prints,
among which are the following :
portraits.
Gruillaume Bruuetiere, Bishop of Saintonge ; after
Bon de Boidlongne.
Pierre Loisel, Doctor of the Sorbonne.
Julien Gardeau, Cur6 of St. Etienne-du-Mont ; after
Lombard.
John Law, of Lauriston ; after J. Hubert.
SUBJECTS.
St. Luke painting the Virgin ; after Raphael.
The Stoning of Stephen ; after Pietro da Cortona.
Tobit and the Angel ; after Annihale Carracci.
The Martyrdom of St. Paul ; after L. de Boullongne.
Christ curing the Paralytic ; after Bon de Boullongne.
17
Zianglois
A BIOGRAPHICAL DICTIONARY OF
Iiankrink
LANGLOIS, J£r6mb Martin, a French historical
and portrait painter, was born in Paris in 1779. He
studied under David, whom he assisted in many of
his works, and obtained the second prize in 1805,
and the grand prix ' in 1809. After his period of
study at Rome, he returned to France in 1815,
and in 1824 went to Brussels to paint the portrait
of his exiled master, David, to whose principles
he was ever faithful. He died in Paris in 1838,
having in the same year been elected a member of
the Institute. Amongst his works are :
Bordeaux. Cathedral. St. Hilary.
Marseilles. Museum. Portrait of M. de Belzunce,
Bishop of Marseilles.
Paris. Louvre. Cassandra imploring the ven-
geance of Minerva against
Ajax. 1817.
„ „ Diana and Endymion. 1822.
Toulouse. Museum. Alexander ceding Campaspe to
Apelles. 1819.
Versailles. Gallery. Several portraits.
LANGLOIS, Nicolas, a French engraver, who
flourished in the second part of the 17th century,
was the son of Francois Langlois, called Ciartres,
whose business as a printseller he continued to
carry on. The following plates are by him :
The Holy Family ; after Raphael.
St. Paul and Barnabas ; aftffr the same.
St. Paul ; after Le Pautre.
The Repentance of St. Peter ; after the same.
LANGLOIS^ PiEBEE Gabriel, a French engraver,
was born in Paris in 1754. He was a pupil of
Simonet. and worked on the ' Galerie de Florence,'
the ' Mus6e des Monuments Pranyais,' by Lenoir,
and on the edition of Voltaire's works published
by Beaumarchais. He died about 1810. He re-
produced several pictures of the Italian and Dutch
schools, among which may be named :
Silence ; after A . Carracci.
The Alchemist ; after Tenters.
The Virgin and Child ; after .Titian.
Boman Charity ; after Fellearini.
The Denial of St. Peter ; after Teniers.
The Violin Lesson ; after Netscher.
LANGLOIS, Vincent Marie, a French engraver,
was born in Paris in 1756, and was instructed by
his brother Pierre Gabriel Langlois. He engraved
several vignettes after Moreau, Lebardier, and
others. The date of his death is unrecorded.
Among his plates are :
Portrait of Andrea del Sarto ; after himself.
The Holy Family ; after Subens.
Venus in the Forge of Vulcan ; after Van Dyck.
Virgin and Child ; after L. Carracci.
The Muses ; after Le Sueur.
The Four Evangelists ; after Valentin.
The Garden Concert; after Lawrence.
LANGLOIS DE CHEVREVILLE, Lucien Tni-
OPHILB Ange Sosthene, wag born at Mortain
(Manche), in 1803. He studied under Gros, and
stayed afterwards for a considerable time at Rome,
Pompeii, and Geneva. Subsequently he returned
to France, and settled at Rouen, where he founded
a studio for painting and perspective. Later on
he went to Cherbourg as conservator of the
Museum, and to Paris as professor of design at
the College. He died in Paris in 1845. He was
an excellent copyist and painter of portraits. Of
his large historical subjects mention may be made
of:
An Angel overthrowing a Demon. {St. Pierre, Rouen.)
An Apparition of the Virgin. (St. Patrice, Rouen.)
18
LANGOT, FBANgois, a French engraver, was
chiefly employed in copying the prints of other
masters, particularly Cornelis Bloemaert and Huret.
LANGREMUS, M. F., an engraver, execuled
several book-plates, frontispieces, portraits, &c.
He lived about the year 1649.
LANGUASCO, Teresa Maria, a barefooted
monk, was born at San Rerao in 1651, and died in
1698. He studied under Giovanni Battista Carlone.
In St. Niccol6 at Tolentiuo are some saints of his
order painted by him.
LANIERB, Niccol6, or Nicholas, who was a
native of Italy, bom apparently in 1568, lived in
England during at any rate the latter portion of
his life. He possessed various talents, which were
all suited to the taste of Charles I., being a
musician, a painter, an engraver, and a connoisseur;
and he had a great share in the purchases, made
for the royal collection. As a painter, he drew a
' Holy Family ' for the king ; and his own portrait,
by himself, with a pallet and pencil in his hand,
and a scrip of paper, with musical notes, is in the
music-school at Oxford. He possessed a con-
siderable collection of drawings, several of which
he caused to be engraved, and etched some of
them himself ; on one of them is the inscription in
Italian, ' Prove prima fatte a I'acqua forte da N.
Laniere a I'eta sua giovanile di settanta otto anni
1636.' He died in London in 1646.
LANINI, Bernardino, was bom at Veroelli
about the year 1520, and was a disciple of Gauden-
zio Ferrari, whose style he imitated with such pre-
cision, that a picture he painted for the church of
San Giuliano, at Milan, representing a 'Pietk,'
might be taken for a work of that master, had he
not signed it with his name, and the date 1547.
At a later period of his life, he worked with more
freedom, and painted an altar-piece of St.
Catharine, for the church dedicated to that saint
near San Celso, which is highly commended by
Lomazzo. He was much employed at Milan, and
in the State, and particularly at Novara, where he
painted, in the cathedral, the ' Eternal Father,' the
Sibyls, and some subjects from the life of the Virgin.
In some of his works he aimed at the impressive
style of Leonardo da Vinci, particularly in a
picture in Sunt' Ambrogio, of ' Our Saviour after
the Scourging, between two Angels ; ' a production
so full of pious and beautiful expression, and of
such admirable relief, that it is esteemed one of
the finest works of art in that basilica. He died
about the year 1578. In addition to the above
paintings, he has left :
Berlin. Gallery. Madonna and Saints.
London. A'at. Gallery. Holy Family. 1543.
Milan. Brera. Three Angels playing.
„ „ St. Martha.
„ „ Virgin and Child, with %ints.
LANINI, Gaudbnzio, and Giuolamo, were the
brothers of Bernardino Lanini, and followed his
style at a humble distance. By the former, Lanzi
mentions a picture in the sacristy of the Barnabites,
representing the ' Virgin and Infant, with several
Saints ' ; and by the latter, a ' Deposition from the
Cross,' in a private collection at Vercelli.
LANKRINK, Prosper Henrious, was born at
Antwerp in 1628. His father, a soldier of fortune,
had come to that city from Germany, and there he
obtained a coloners commission, and died. The
young Lankrink received a good education, and
was intended by his mother for a monk, but dis-
covering an inclination for painting, he was
Xianoue
PAINTERS AND ENGRAVERS.
Lapis
jjermitted to attend the Academy, where his pro-
gress was considerable, and was promoted by his
having access to study the best pictures in one of
the finest collections at Antwerp. Lankrink went
afterwards to Italy and especially studied the works
of Salvator Rosa. On the death of his mother he
came to England, in the reign of Charles II., and
was patronized by Sir Edward Spragge, and more
particularly by Sir William Williams, for whom
he painted a great number of landscapes, which
were destroyed when that gentleman's mansion
was burned down. His pictures were in consider-
able estimation, and he was occasionally employed
by Sir Peter Lely to paint his backgrounds. The
scenery in his landscapes is wild and romantic,
with rocks and broken grounds, in the style of
Salvator Rosa. In later life he degenerated into
an idle and dissolute character. He died in
London in 1692.
LANOUE, F&ix HiPPOLYTB, a French land-
scape painter, was born at Versailles in 1812, and
studied under Victor Berlin and Horace Vernet.
After having obtained the first prize at the Eoole
des Beaux-Arts in 1842, with ' Apollo tending
Sheep,' he visited Rome, Holland, and Russia. He
.died at Versailles in 1872. His chief merit consists
.in representing Italian scenes, especially those of
the Campagna. Among his best landscapes are :
The Tiber at Acqua Acetosa. 1864.
View in the Island of Capri. 1848. (Lisieux Museum.)
View of the Eoman Aqueduct over the Gard. 1850.
{Aviynon Museum,)
The Bock of the Nasos, in the Eoman Campagna.
1866. (The same.)
St. Benedict in the Solitudes of Subiaoo. 1853. (St.
Eiienne'du- Mont, FaHs.)
LANSCROON, , a native of Flanders, came
over to England and assisted Verrio and Laguerre.
He died in 1737, leaving a son who followed the
same profession.
LANSE, Michel, a French painter of flowers
and birds, was bom at Rouen in 1613. He became
a member of the Paris Academy in 1660, and died
in 1661.
LANT, Thomas, who was born about 1556, was
in the service of Sir Philip Sidney, whose funeral
procession he drew and published in 1587. He
was created Windsor Herald in 1697, and died in
1600.
LANTARA, Simon Mathukin, was born at Oncy
(Seine-et-Oise), in 1729. His father was a weaver,
and at the age of eight he commenced life as a
herdsman. The chalk sketches which. he made
on walls, rocks, &c., caused his talent to be
appreciated by the son of his master, who took
him to Paris, and placed him in a studio at
Versailles. He made rapid progress, and entered
the service of an artist in Paris, who paid his
wages in painting lessons. There is little else
known of Lantara ; he lived a careless life from
hand to mouth, working when he wanted food,
never profiting from the success which his works
enjoyed. He executed many drawings, landscapes,
and marine views, in which Bernard, Joseph Ver-
net, Casanova, Berr^, and Taunay, often inserted
the figures. He died in extreme poverty in the
H6pital de la Charity, Paris, in 1778. Many of his
works have been engraved by Dnret, Lebas,
■Mouchy, Nde, Beaugeon, and Couch6. Among his
principal works are the following :
Landscape : Morning Effect. 1761. (Louvre.)
Horning. (Besanqon Museum.)
View on the Banks of the Loiug. (aidteauroux
Musntm.)
Moonlight Scene. (Nantes Museum.)
LANZANI, Andrea, was born at Milan about
the year 1645. After receiving some lessons from
Luigi Soaramuccia, a scholar of Guido, then resi-
dent at Milan, he went to Rome, where he entered
the school of Carlo Maratti. His genius, however,
led him to something less placid; and he par-
ticularly devoted himself to the study of the ener-
getic productions of Lanfranoo. His best pictures
were those he painted immediately on his return
to Milan, whilst his mind was impressed with the
great principles of the Roman school. Such are
his picture of ' St. Charles in Glory ; ' and a subject
from the life of Cardinal Federigo, in the Ambro-
sian Library at Vienna. He also painted at the
court at Vienna, and was there knighted. He died
at Milan in 1712.
LANZANI, PoLiDORo, called Polidoeo Venbzi-
ANO, was born at Venice in 1615, and was one of
the numerous scholars of Titian. He has left
pictures of Madonnas and Saints in the church of
the Servi, and in other public buildings at Venice,
and a ' Madonna ' and a ' Marriage of St. Catharine '
are to be seen at Dresden. He died in 1665.
LANZENI, GiovANUi Battista, a painter and
etcher, was born at Verona in 1659. His masters
were Voltolino and F. Barbieri. He painted at
Verona in oil and fresco for churches and private
houses. In San Proclo he painted thirty-six
Bishops of Verona, the ' Four Doctors of the
Church,' and ' The Last Supper.' ' The date of his
death is unknown. He had a son, Angelo Maeia,
who was also a painter.
LANZILAGO, an Italian historical and portrait
painter, was a native of Padua, who flourished
towards the close of the 16th century. He went to
Rome and was an imitator of Bartolommeo della
Gatta.
LAODICIA, was a painter of the Milanese school,
and contemporary of Andrino di Edesia, who lived
at Pavia in the first half of the 14th century. She
was probably a Greek by birth.
LAP, Jan, a Dutch artist, flourished about the
middle of the 17th century, and drew and painted
landscapes with ruins and numerous figures, in the
manner of Jan Both.
LA PEIGNE, Hyaointhe de. See De la
Peignb.
LA PESA, De. See De la Pena.
LA PENAI, , was a French portrait painter,
of the 16th century, and a pupil of Rigaud.
LAPI, Giovanni, an Italian engraver, flourished
about 1750, and executed some of the plates for
the ' Museo Etrusco.' There were other engravers
of the name of Lapi.
LAPI, NICCOLO, an Italian painter, was born in
1661, and died in 1732. He was a scholar of Luca
Giordano. ' At Florence is a ' Transfiguration ' by
himi
LAPIS, Gabtano, was bom at Cagli in the
Roman State, in 1704, and studied at Rome under
Sebastiano Conca. He was a paniter of an original
taste, possessing great fire, yet correct in his de-
sign. In the Palazzo Borghese at Rome, he painted
a ceiling representing the 'Birth of Venus.' He
died at Rome in 1776.
LAPIS, GlEOLAMO, an historical, portrait, and
landscape painter, who flourished in the 18th
century, was a native of Venice. He settled in
•" 19
liapito
A BIOGRAPHICAL DICTIONARY OF
Largillieit)
Holland, and was living at the Hague in 1785.
H. Lapis, the miniature painter, was probably his
son.
LAPITO, Louis Augcjste, a French landscape
painter, was born at Joinville-le-Pont (Seine) in
1803. He studied under Heim and Watelet, whose
style, though difiering in colouring, he followed.
He died at Boulogne-sur-Seine in 1874. His best
landscapes are :
Bordeaux. Museum. Ijandscape.
Cambrai. Museum. View from above the Lake of
Brienz. 1833.
Paris. Loiovre. View of Oorte.
Stuttgart. Bosenstein. The Island of Capri.
LAPO, Stbfano di, an historical painter, was
born at Florence in 1301. He is supposed to
have been grandson and pupil of Giotto. He
painted at Pisa, Florence, Milan, Rome, Assisi,
Perugia, and several other towns in Italy. lie
died in 1350.
LAPO, ToMMASo DI, called Giottino, son of
Stefano di Lapo, was born at Florence in 1324.
He painted a picture of Gauthier de Brienne, who
was driven from Florence in 1343. At Naples is
a ' Virgin and Angels,' and some other works are
at Florence. He died in 1356.
LA POINTE, F. DE. See De la Pointe.
LAPORTE, George Henry, an animal painter,
was an exhibitor at the Society of British Artists
from 1826, and at the Royal Academy from 1827.
He was a member and constant exhibitor at the
Institute of Painters in Water-Colours, his subjects
being animals and figures, military and Arab groups,
and hunting-scenes. He was. animal painter to
the Duke of Cumberland. He died in 1873.
LA POBTE, Henri Horace Holland de. See
Holland de la Porte.
LAPORTE, John, an English landscape painter,
chiefly in water-colours, was born in 1761. He
exhibited at the Royal Academy from 1785, and
taught drawing at the Military School at Addis-
combe. He published 'Sketches of Trees' (1798-
1801); 'Drawing Book' (1800); 'Progressive
Lessons sketched from Nature' (1804) ; and 'The
Progress of Water-Colour Drawing.' He died in
London in 1839. The following drawings by him
are in the South Kensington Museum :
Conway Castle.
Buttermere.
Forest Scene with Cattle.
1790.
LAPPIOOLA, Niccol6, a painter, was born at
Crotona in 1730, and took lessons at Rome from
Francesco Mancini. He supplied the designs for
the mosaics for one of the chapels of St. Peter and
in other parts. He died at Rome in 1790.
LAPPOLI, Giovanni Antonio, tlie son of Mntteo
Lappoli, was born, according to Vasari, at Arezzo
in 1492, and was first a disciple of Donienico
Pecori, but afterwards studied under Jacopo
Caruzzi, called Pontormo. He went early in his
life to Rome, where he formed an intimacy
with Perino del Vaga and II Rosso, and was
favoured with the protection of Clement VII.,
who employed him in some public works , but the
completion of them was interrupted by the sack-
ing of Rome in 1527, when he was obliged to flee.
He retired to his native city, where he painted
several pictures for the churches and private col-
lections. He died in 1552.
LAPPOLI, Matteo, was born at Arezzo about
1450, and diefl in 1504. He studied under Don
20
Bartolorameo. The greater part of his paintings
have perished. There are still at Arezzo, in the
refectory of the Bernardines, a 'St. Bernard,' and
in Santa Maria a ' St. Sebastian.'
LAPOTER, AdjJlaide Isabelle Antonine,
whose maiden name was Cherbau, was born at
Les Riceys (Aube) in 1814. She was a pupil of
Antoine Chazal and of Madame de Mirbel, and
became well-known for her portraits in miniature.
She died in 1880.
LA QUEWELLERIE, Guillaume de. See De
LA QUEWELLEKIE.
LAQUY, Gdilladme Joseph, born at Bruel in
1738, studied in the school of Jan Eemmers with
Wybrand Hendriks, in whose landscapes he painted
the figures. He was patronized by the celebrated
amateur Braamcamp, and made copies of the works
of Gerard Dou, Metsu, De Hooch, Paulus Potter,
and other eminent masters in that fine collection.
He also painted original pictures of cabinet size.
He died at Cleves in 1798.
LARCHER, Antoinette, was born in Paris in
1685, and flourished about the year 1725. She en-
graved some plates of historical subjects, among
which is ' Judith with the Head of Holofernes,' after
Raphael. She signed her name ToiTiette Larcher.
LAREDO, Juan Fernandez de. See Fernandez.
LARGILLlllRE, Niuolas de, a French portrait
painter, was born in Paris in October, 1656. When
three years old, he was taken to Antwerp,, where
his father had settled as a merchant. This was
not his only youthful experience of travel. At
the age of nine he paid a visit to England, which
lasted twenty months. On his return to Antwerp
he became a pupil of Antoon Goubau, whom he
assisted by painting the still-life accessories in his
pictures. About 1675, he paid a second visit to
England, and found work in the Royal palaces,'
under Sir Peter Lely. This brought him to the
notice of Charles II., whose portrait he painted,'
together with those of several of the nobility.
After a stay of four years in this country, he.
settled in Paris, and at once obtained a large
practice amongst the bourgeoisie and professional
classes. He was fortunate enough to become inti-
mate with Van der Meulen and Le Brun, the latter
of whom proved himself a great friend. During
the reign of James II. he paid another short visit
to England, and painted the king's portrait, as
well as those of Mary of Modena and the infant
Prince of Wales. In 1686 he was received into the
Fi'ench Academy as an historical painter, on his
portrait of his friend Le Brun. It is curious to note,
that though Largilliere is now only remembered
as a portrait painter, and as such has been styled
the French Van Dyck, yet in his own day he had
a great reputation as an historical painter. After
the deaths of Le Brun and Mignard, he occupied
the foremost position in the French school in this
branch of art, although he did not court royal and
aristocratic patronage. He filled successively all
the offices of honour in the Academy, and died in
Paris of paralysis on the 20th March, 1746. The
chief name amongst his pupils is that of Oudryi
the animal painter, in whom he took great interest
The French provincial Museums contain many
specimens of Largilliere's art, which it is not pos-
sible to particularize. Mention should, however,
be made of the following works by him :
Dresden. Galler;/. Portrait of a Man in armour.
Florence. Vffi'zi. Portrait of himself.
17 „ Portrait of J. B. Rousseau.
Jiarive-Godefroy
PAINTERS AND ENGRAVERS.
Laroon
London.
Paris.
Louvre.
St. Genevieve.
Stockholm. Nat. Gallery.
Versailles. Galle^^y.
^ " GaUerv^' \ ^"""^ Charles Edward Stuart.
Henry Stuart, Cardinal York.
Portrait of Charles Le Brun.
Portrait of the Count de La
Chatre.
Elevation of the Cross.
The Provost, of the Merchants
and the Echevins of Paris.
{Sketch for the large picture
painted in 1687, on the occa-
sion of the convalescence of
Louis XIV., for the Hotel de
Ville, PariSy and destroyed
during the Eevolution.)
Petersburg. Hermitage. Preparation for a F6te at the
Hotel de Ville, Paris.
Portrait of Louis XV.
Portrait of himself.
The Artist and his Family.
„ „ Nicolas Couston, sculptor.
„ „ Thomas Morant, Councillor of
State.
„ „ Jean Thierry, sculptor.
O.J.D.
LARIVE-GODEFROY, Pierre Louis de, was
liorn at Geneva in 1753, and studied under Fassin
at Rome. He worked for some time at Munich,
Dresden, and' Mannheim, and at last he settled at
Persingue near Geneva. The expression in his
works is most pleasing, and the arrangement is
full of spirit, but he is too mannered. His etchings
are also most spiritedly executed. He died at
Persingue in 1814. Among his paintings there
are :
Scenes of the Golden Age.
View of Persingue.
View of Mont Blanc,
LARIVI'^RE, Charles Philippe Auguste de, a
French historical and portrait painter, was born in
Paris in 1798. He entered the Ecole des Beaux-
Arts in 1813, and studied under Girodet and Gros.
In 1819 he obtained the second prize, and in 1824
the 'grand prix,' which enabled him to pursue his
studies at Rome. Specimens of his work as a
decorative artist are to be seen in the Cathedral
at Dreux. He died in Paris in 1876. Amongst
the pictures which he produced are :
I Bordeaux. Museum. Christ in the Garden of
Olives.
Versailles. Gallery. The Taking of Brescia.
„ „ Many Portraits.
LARMESSIN, Nicolas de, the elder, a French
engraver, was born about 1636, and died in Paris
in 1694. , He had a younger brother, also named
Nicolas, to whom are usually ascribed all the plates
of the period which bear this name, but M. Didot
is of opinion that the greater number of them are
in reality the work of the elder of the two brothers,
and draws attention to the finished style of the
portrait of Archbishop Adh^mar de Monteil, which
bears the date 16S8, at which time the younger
Larmessin would be but eighteen years of age.
LARMESSIN, Nicolas de, the younger, a
brother of Nicolas de Larmessin, the elder, was
born in Paris about the year 1640, and died there
in 1725. There are by this artist several portraits,
executed entirely with the graver, and possessing
considerable merit. He sometimes marked his
plates with the initials N. L., and sometimes
with the cipher J^^L* The following portraits
are by him ;
Philip de Bourbon. Duke of Orleans, brother to Louis
XIV.
Henrietta, Duchess of Orleans.
Henri Jules de Bourbon, Duke d'Enghien.
Charles XL, King of Sweden.
Claudia Pelicita of Austria, Empress of Leopold I.
Maximilian Henry, Archbishop of Cologne.
Godefroi, Count d'Bstrades, Marshal of France.
Gabriel Nicolas de la Eeynie, Lieutenant of Police.
Louise Fran(joise, Duchesse de La Valliere, in the habit
of a Nun.
Balthasar Moretus.
Paolo Manuzio, Librarian of the Vatican.
Laurens Coster.
Johann Gutenberg.
LARMESSIN, Nicolas de, the son of Nicolas
de Larmessin, the younger, was born in Paris in
1684, and was instructed in engraving by his
father. He acquired considerable celebrity by
some prints he engraved for the Crozat Collection,
became a member of the French Academy in 1730,
and engraver to the king. He died in Paris in 1755.
There are by him a, great number of portraits, and
historical and other subjects, engraved in a neat,
finished style, in which he united the point with
the graver. There is a want of correctness in the
drawing of his figures, and his prints are without
much efEect. The following are his principal
works :
portraits.
James II., King of England.
Mary of Modena, Queen of James II.
William III. and Mary II.
Louis XV., on horseback ; after J. B. van Loo.
Marie, Queen of Louis XV. ; after the same.
Louis XV. , on foot ; after the same.
Marie, Dauphiness of France ; after the same.
Charles Henry of Lorraine ; after Banc.
Woldemar de Loewendahl, Marshal of France ; after
Boucher.
Guillaume Coustou, sculptor ; after De Lien ; engraved
for his reception into the Academy. 1730.
Claude Hall6, painter ; after Le Gros ; also engraved
for his reception into the Academy. 1730.
Philip Vleughel, painter ; after P. de Ohampaigne.
PORTRAITS FOR THE CROZAT COLLECTION.
Eaphael and Jacopo da Pontormo ; half-lengths ; after
Raphael.
Federigo Oarondeletto, Archdeacon of Bitonto ; after
the same. ^
Cardinal Pole ; after Raphael or S. del Piambo.
SUBJECTS FOR THE CROZAT COLLECTION.
St. Michael vanquishing Satan ; after Raphael.
St. George and the Dragon ; after the same.
St. John the Evangelist ; after the same.
The Holy Family ; after the same.
The Virgin and Infant Jesus ; after the same.
The Vision of Ezekiel ; a/to' the same.
Christ bearing His Cross ; after the same.
VARIOUS SUBJECTS AFTER FRENCH MASTERS.
The Four Seasons ; after Lancret.
The Four Ages of Man ; after the same.
A set of four Prints from the Fables of La Fontaine ;
after Boucher,
The Ambrous Savoyard ; after Pierre.
The Savoyard Family ; after the same.
LAROON, Marcellds, called ' Old Laroon,' was
born at the Hague in 1653, and learned the rudi-
ments of painting from his father, with whom he
came when young to England. Here he was placed
with La Zoon, an obscure portrait painter, and
vsras afterwards some time with B. Plechiere. He,
however, studied chiefly by himself. He lived in
Yorkshire for some years, and then came to London,
21
Laroon
A BIOGRAPHICAL DICTIONARY OF
Lassus
where Sir Godfrey Kneller employed him to paint
his draperies, in which branch he was eminent.
He possessed the talent of imitating the different
styles of the great masters with uncommon success ;
and painted historical subjects, portraits, and con-
versations. From 1680 he lived in Bow Street,
but he died at Richmond of consumption in 1702.
There are by this artist some slight spirited etchings
of ' Dutch Boors regaling,' and similar subjects, in
a style resembling that of Ostade, but very inferior.
He also drew and engraved ' The Coronation Proces-
sion of William and Mary,' and Tempest's ' Cryes
of the City of London,' 1688. He sometimes
marked his plates with the cipher J^^.
LAROON, MAHCELLtrs, an English subject
painter and draughtsman, was born in London,
in 1679. He was the son of "Old Laroon." In
early life he accompanied embassies to Ryswyok
and Venice. Then quarrelling with his father, he
became an actor. Finally, in 1707, he obtained a
commission in the army, and served in the cam-
paigns in Flanders, in Spain, and in the Jacobite
Rebellion of 1715. He retired from the service in
1734. He had great power as a draughtsman, and
excelled in his groups of figures. He died in 1772.
LA ROSE, Jean Baptiste de. See De t,a Rose.
LA KODLLIERE, , is mentioned by Papillon
as an engraver on wood of some merit, who flour-
ished about the year 1700.
LA ROUSSIBRE, Franqois de. See De la
ROUSSIERE.
LARRAGA, Apolinaeio, was a native of Va-
lencia, and has been erroneously stated to have
been a scholar of Pedro Orrente, who most prob-
ably died before he was born, as Larraga outlived
him upwards of eighty years. He is said, how-
ever, to have made Orrente's works the model for
his imitation, and painted several pictures in his
style in the convent of San Domingo, and in the
churches of his native city. He died in 1728. His
daughter, JosBEA Maeia Lareaga, an historical and
miniature painter, was a pupil of her father.
LARSEN, Cael Febdeeik Emanuel, a Danish
marine painter, was born in 1823, and died in 1859.
At Copenhagen are pictures of the ' Harbour of
Nieuwe Diep,' 'The Coast at Marseilles,' and
' Morning on the Sand.'
LA HUB, Philibeet BbnoIt de. See De la
Rue.
LA RUELLE, Claude de. See De la Ruelle.
LAS CUEVAS, Db. See De las Cuevas.
LAS MARINAS, Heneique db. See De las
Maeinas.
LAS ROELAS, Juan de. .See Db las Roelas.
LASINIO, Conte Caelo, an Italian engraver,
was born atTreviso about 1757, but worked chiefly
at Florence. He was conservator of the Gallery
at Pisa, where he died in 1839. He is known by
several works illustrative of the older painters,
including the following :
Forty plates of Frescoes and Oil Paintings at Florenne.
1789.
Forty plates of Frescoes in the Campo Santo at Pisa.
1810.
Thirty-two plates of Frescoes of the Fourteenth and
Fifteenth Centuries.
He was* the instructor of his son, Giovanni
Paolo Lasinio, who was born in 1796, and who
together with Rossi engraved forty-four plates of
the Campo Santo at Pisa (1832), and took part
in the decorations of the Galleries at Florence and
22
Turin. He executed also the plates for Rosellini'8
'Monumenti dell' Egitto e de la Nubia,' 1833-44.
His signature was L. F. scul. He died in 1855.
LASINSKY, JoHANN Adolf, was born at Sim-
mem, near Coblentz, in 1808. and entered the
Academy at Dusseldorf in 1827. Along with
Lessing and J. W. Sohirmer he was one of the
first who cultivated landscape painting inde-
pendently. In 1837 he painted for the Emperor
Alexander at Coblentz. He went afterwards to
Cologne, but returned to Dusseldorf in 1850, where
he died in 1871. Among his landscapes may be
mentioned :
Castle Elz on the Moselle. 1831.
An Old Watch-Tower by moonlight. 1835.
The Waterfall at Pyrmont. 1835.
The Narrow Pass at Dusk.
Panorama of Cologne.
A series of Landscapes of HohenzoUem, for the Duke
of HohenzoUem.
L'ASNE, Michel, was one of the first of the
French engravers who distinguished himself by a
free and dexterous management of the graver.
He was born at Caen in Normandy in 1596, and
appears to have imitated the style of Cornells
Bloemaert and F. Villamena. He died in Paris in
1667. He was extremely laborious, and has left a
great number of prints, consisting of portraits, and
historical and other subjects. When he did not
sign his plates with his name, he generally used
the cipher "lYT^. The following are his principal
prints :
POETEAITS.
Louis XIIL, on horseback (the background, representing
a battle, was engraved by Callot); signed Michael
Asinus, sculptor Regius.
Bernard, Duke de J/a Talette (the background, with
the town of Metz, was engraved by Callot).
Anne of Austria, Queen of France.
Armand, Cardinal de Richelieu.
Jules, Cardinal Mazarin.
Charles de Crequi, Marshal of France.
Franqois de Bassompierre, Marshal of France.
Pierre Siguier, Chancellor.
Nicolas de Bailleul, President of the Parliament.
Francisco Fernandez, Franciscan.
Father Joseph, celebrated Capuchin.
Jean Fran(jois Niceron, monk, and famous mathema-
tician.
Giulio Strozzi, Venetian poet ; a/ter <S I'lmet. 1627.
Fran9ois Quesnel, painter to Henry HI. ; from a picture
liy himself.
Father Nicolas Caussin ; engraved in the manner of
Mellan.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after Huberts.
St. Francis receiving the Infant Jesus from the Virgin ;
after the same.
St. Francis of Paloa ; after the same.
Susannah ; after the same.
The Visitation of the Virgin ; after L. Carracci,
The Virgin, with the Infant sleeping, and St. John,
called ' The Silence ' ; aftet^ Annibale Carracci.
The Dead Christ, with Mary Magdalene ; from his own.
design.
Bece Homo ; after Titian.
Jesus Christ in glory, with St. Peter and St. Paul ; after
Faolo Veronese.
The Virgin, as Queen of Heaven ; after Alhani; oval.
LASSUS, Alexandee Victor db, was bom at
Toulouse in 1781. He was a pupil of David, and
painted historical scenes, like his master. 'There
is a large picture of ' BarbaTossa ' by him in the
Museum of Angers.
Lastman
PAINTERS AND ENGRAVERS.
IiEudati
LASTMAN, NiCOLAES, the son of Pieter Last-
man, was born at Haarlem about 1590 or 1595.
After learning the principles of design from Jan
Pinas, he was instructed in engraving by Joannes
Saenredam. His plates are neatly executed, but
without much taste. The following among others
are by him :
Portrait of Karel van Mander ; copied after J. Saenredam.
Christ praying in the Garden ; after Pieter Lastman.
St. Peter delivered from Prison ; after J. Pinas,
The Martyrdom of St. Peter ; after Guido.
The Good Samaritan, in a landscape; after his own
LASTMAN, PlETBE, was probably born at
Amsterdam in 1562, and was a disciple of Grerrit
Pieterszen. Afterwards he visited Italy, where
he was influenced by Elsheimer. He painted his-
torical subjects, generally composed of a great
number of figures, in which it appears that his
i'ourney to Italy had not contributed to render
lis design either graceful or correct. There is,
however, a broad difference between his works
.at different periods, and four distinct styles are
recognisable : first, the spirited style up to 1608
(as those below at Berlin) ; second, the clumsy and
mannered style, 1609-19 (as those at Brunswick
and Copenhagen) ; third, the style of Caravaggio,
1620 to about 1630 (as those at the Hague and
Rotterdam) ; fourth, a transparent style like Rem-
brandt's, after 1630 (as those at Haarlem and
Utrecht). He was for a time the instructor of
the last-mentioned painter, and also of Jan Lievens.
He is supposed to have died at Haarlem in 1649.
The following are examples of his works, which
are signed P. Lastm, P. as., or with a monogram.
Berlin.
Gallery.
The Repose in Egypt.
»>
„
Baptism of the Eunuch.
Brunswick.
Gallery.
Ulysses and Nausicaa. 1609.
{The same at Augsburg.')
»»
»
David in the Temple. 1613.
j>
ft
The Murder of the Innocents.
Copenhagen
Moltke Col.
Tobias. 1618.
Haarlem.
Museum.
Adoration of the Shepherds.
Hague,
Museum.
The Angel appearing to
Manoah'.
Christ on the Cross. 1625.
a
)j
Rotterdam.
Museum.
The Flight into Egypt.
Utrecht.
JS. Kramm.
The Raising of Lazarus. 1632.
Three etchings have been ascribed to him, but
they are doubtful ; two of them are :
Judah and Tamar, in a landscape.
A Female seated before an arch, her head covered with
a veil, with her hands before her.
LATHAM, James, an Irish portrait painter, was
born in Tipperary about the beginning of the 18th
century. He studied at Antwerp, and became a
master in the Guild of St. Luke in 1724-5. He
afterwards lived in London and Ireland, where he
had a good practice, and died at Dublin about 1760.
There is a portrait by him of Peg Woffipgton at
the Royal Dublin Society.
LATILLA, Eugenic, a subject painter, whose
father was Italian and mother English, exhibited
at the Society of British Artists, of which he was
a member from 1838 to 1861. He afterwards
emigrated to America, and passed several years
in and near New York, where his sister married
the American painter James E. Ereeman, who now
resides in Rome. Latilla died at Chataqua, West-
chester county, in the State of New York, about
the year 1860.
_ LA TOMBE, NicoLAAs, caned Stoppertje, from
his addiction to smoking, was born at Amsterdam
in 1616. After learning the rudiments of the art
in his native city, he travelled when quite young
to Italy, and resided some years at Rome, where
he was chiefly employed in painting small land-
scapes and architectural subjects, which he decor-
ated with figures in the Italian costume. He
sometimes painted views of the vestiges of
ancient buildings and monuments in the vicinity
of Rome, with landscapes in the backgrounds, in
which he appears to have imitated the style of
Cornelis Poelenborch. He also occasionally painted
small portraits, especially after his return from
Italy. He died at Amsterdam in 1676.
LA TOUR, Elisabeth M. db. See De La Touk.
LATOUR, Jan, an historical and portrait painter,
was born at Liege in 1719. He was a pupil of
Jan Baptist Coders, and afterwards went to Rome,
where he frequented the atelier of Giaquinto
Corrado. He then went to Naples, but afterwards
returned to Li6ge, where he executed several pic-
tures. He visited London and Paris, and died in
Picardy in 1782.
LATOUR, Joseph, a French landscape painter,
was born at Toulouse in 1817, and died in 1863.
LA TOUR, Maurice Quentin de la. See Db La
TCUR.
LA TRAVERSE, Charles Eranqois db. See
De La Traverse.
LATTANZIO da Rimini, an Italian artist, is
registered in 1495 as one of the decorators in the
Hall of Great Council at Venice. With Mansueti
he worked at the church of the Crocif eri, or Gesuati,
at Venice, in competition with Cima.
LATTANZIO di Cremona, an Italian historical
painter, flourished at Cremona in 1520. He studied
in the school of the Milanese at Venice.
LAUB, TcBiAs, a German portrait painter and
engraver in mezzotint, who flourished at Augsburg,
was a pupil of Isaak Fisches, the elder. His name
is affixed to a portrait of J. J. Soheuchzer, after
J. H. Heidegger. He died in 1761, at the age of 76.
LAUBREIS, Vbit Carl, was born at Wiirz-
burg in 1769. He was instructed by A. H. Kohler,
and afterwards went to the Academy at Mannheim,
where in 1790 he gained the prize medal. He
painted portraits and historical pieces, and exe-
cuted anatomical drawings for works of medicine
and surgery. He died about 1806.
LAUCH, Christoph, born in 1647, was gallery
inspector and painter to the Empress Eleanor.
In conjunction with J. Mannl he published thirty
volumes of the collections in the gallery. His
portraits of the Empress Eleanor and of the
Empress Maria have been engraved by Boner and
Kusel. The portrait of the Emperor Leopold 1.
is in possession of the magistracy of Vienna. He
died at Vienna in 1780.
LAUCHERT, Richard, a portrait painter, was
born at Sigmaringen in 1823. He studied at
Munich in 1839, went for improvement to Paris in
1845, and settled at Berlin in 1860. He was mostly
employed by the courts of Germany, England, and
Russia, and painted portraits with great taste and
ability, but many of his earlier productions are
inferior to those of his later period. He died at
Berlin in 1868.
LAUDATI, Giuseppe, was born at Perugia in
1672, and studied under P. Montanini in that town,
and under Carlo Maratti at Rome. He helped to
raise the art of painting at Perugia from its decline.
23
Lauder
A BIOGEAPHICAL DICTIONARY OF
Iiaug^er
J. H. Frezza etched after his works. He died after
1718.
LAUDER, James Eckford, a Scottish subject
painter, was born at Silvermills, near Edinburgh,
in 1812. He was the younger brother of Robert
Scott Lauder, under whose guidance his early love
of art was rapidly developed. After studying at
the Trustees' Academy, he in 1834 joined his
brother in Italy, and remained there nearly four
years. On his return to Edinburgh he became an
annual contributor to the exhibition of the Royal
Scottish Academy, and he exhibited occasionally
at the Royal Academy in London, where his works
attracted much attention. In 1839 he was elected
an associate of the Royal Scottish Academy, and
in 1846 he became an academician. In 1847 he
sent to the competition in Westminster Hall the
' Parable of Forgiveness,' for which he was awarded
a premium of two hundred pounds. One of his
most successful works, ' The Wise and Foolish
Virgins,' was engraved by Lumb Stocks for the
Association for the Promotion of the Fine Arts in
Scotland. Lauder died at Edinburgh in 1869.
Among his principal pictures are :
{National Gallery of Scotland.)
The Unjust Steward.
The Wise and Foolish Virgins.
Scene from the ' Two Gentlemen of Verona.' 1841.
Cherries. 1842.
Hop-Scotch. 1843.
Night and Day. 1845.
LAUDER, Robert Scott, a Scottish subject
and portrait painter, was born at Silvermills, near
Edinburgh, in 1802, and at the age of fifteen he
was admitted to the Trustees' Academy. He
subsequently came to London, hut returned to
Edinburgh about 1826, and was elected one of the
original members of the Royal Scottish Academy
in 1830. He went abroad in 1833, and studied for
some years in Rome, Florence, Bologna, Venice,
and Munich. On his return in 1838, he lived
chiefly in London, and exhibited at the Royal
Academy. He competed in the Westminster Hall
competition of 1847, sending his ' Christ walking
on the Sea,' which was suhsequently purchased by
Lady Burdett-Coutts. His later years were passed
in his native country, but owing to a paralytic stroke
he did not practise after 1861. He died at Edin-
burgh in 1869. The following are amongst his
best works :
Scene from the ' Bride of Lammermoor.' (Bridgewuter
Gallery, London.) 1839.
The Trial of Effie Deans. 1840.
Meg Merrilies. 1842.
Hannah presenting Samuel to Eli. 1845,
Mother and Child. 1848.
Portrait of John Gibson Lockhart.
Portrait of Rev. John Thomson of 'I
PoS of Wimam Simson, E.S.A. ^ (^^Zllanlf''
Sentmels. •' '
Christ teaoheth Humility. J
LAUDIN FAMILY. The members of this
family of enamel painters of Limoges are very
difficult to distinguish, owing to the frequent re-
petition of the Christian names, and to the identity
of the initials in those cases in which the Christian
names differ. The following genealogical table
will serve to explain as nearly as possible the re-
lationship between those members of the family of
Laudiu of whom further details are given below.
24
VaUrie (?)
(1022—1882.)
Nop! Laudin.
(1686—1681.)
Jacques I.
(1627—1696.)
Noel II.
(1657-1727.)
Nicolas T,
(1628—1698.)
Jacques II.
(1603— 1729)
Joseph (?)
(d. 1727.)
Nicolas II.
(1689—1749.)
Nicolas III,
(d. 1737.)
LAUDIN, Jacques, the elder, was born about
1627, and died in 1695, at the age of 68. He was
the elder son of Noel Laudin, and had his atelier
in the faubourg Manigne at Limoges. He painted
a great number of enamels in ' grisaille,' re-
sembling those of the sixteenth century. Among
them is a series of medallions of the twelve
Caesars, which may be seen in the Louvre and in
several other collections.
LAUDIN, Jacques, the younger, was bom about
1663, and died in 1729, at the age of 66. He was
the son of Nicolas Laudin the elder, and carried on
his business at Limoges in the faubourg Manigne.
He painted enamels in grisaille, and also in colours
upon a white or black ground. Many of his works
are in the Louvre.
LAUDIN, Jean, is named by M, Ardant as an
enamel painter of Limoges, but his existence has
not been established. He is said to have been born
in 1616, and to have died iil 1688, The works
ascribed to him are probably by Jacques Laudin
the elder.
LAUDIN, Joseph, who died in 1727, was per-
haps a son of Noel Laudin the younger. Like him
he worked at Limoges in the faubourg Boucherie,
but no enamel bearing his signature is known,
LAUDIN, Nicolas, the elder, was born about
1628, and died in 1698, at the age of 70. He was
the younger son of Noel Laudin, and practised his
art ' pres les J^suites ' at Limoges, executing chiefly
enamels in colours.
LAUDIN, Nicolas, the younger, born in 1689,
was the son of Noel Laudin the younger. He died
in 1749, and with him expired the art of enamel
painting,
LAUDIN, Noel, the founder of the family of
enamel painters of this name, was the son of Pierre
Laudin, an armourer. He was born about 1586,
and died in 1681, at the age of 95. He resided in
the faubourg Manigne at Limoges, but does not
appear to have signed his works. This fact, com-
bined with the great age to which he lived, has
rendered it extremely difiBcult to assign to their
respective artists many of the enamels painted by
the Laudins, Two plaques in the Louvre, repre-
senting ladies in the costume of the reign of Louis
XIII,, are ascribed to him,
LAUDIN, Noel, the younger, was born about
1657, and died in 1727, at the age of 70, He was
the son of Jacques Laudin the elder, and had his
establishment in the faubourg Boucherie at
Limoges, His enamels are executed in colours
on a white ground.
LAUDIN, ValiSrie, who was bom in 1622, and
died in 1682, was probably the daughter of Noel
Laudin, She possibly worked with one of her
brothers, as no enamel bearing her signature is
known.
LAUGIER, Jean Nicolas, a French engraver,
was born at Toulon in 1786. He studied under
Girodet and at the lilcole des Beaux-Arts, which
Xiaune
PAINTERS AND ENGRAVEES.
Lauri
he entered in 1813, and died at Argenteuil in >875.
Amongst his best plates are :
Leonidas at Thermopylse ; after David.
Delille dictating his History to his Landlady ; after P.
Davlcmx.
Portrait of Ch^teanbriand ; after Girodet.
The Virgin with the Rabbit ; after Titian.
La Belle Jardiniere ; after Raphael.
The Plague at Jaflfa ; after Gros.
Napoleon I. ; after David.
The Holy Family ; after Leonardo da Vina.
Zephyr ; after Prud'hon.
Portrait of "Washington ; after Cogniet.
Portrait of Madame de Stael ; after Girard.
LAUNE, :^TiENNE DE. See Dblaune.
LAURATI, Pietro. See Lorenzetti.
LAUEE, Jean Franqois Hyaointhe Jules, a
French painter, was born at Grenoble in 1806. He
was a pupil of Hersent, and painted genre and
historical subjects. He died in Paris in 1861.
LADREANO, Juan, was an artist residing at
Seville, who executed a good engraving of ' St.
Ferdinand ' in 1677. He was afterwards appointed
chief goldsmith to the cathedral.
LAURENT, Andr6. See Lawrence.
LAURENT, Jean Antoine, a French historical
and portrait painter, was born at Baccarat
(Meurthe) in 1763. He studied under J. Durand,
and became curator of the Museum of the Vosges at
Epinal. He" published a work on linear drawing,
and died at Epinal in 1832. Among his pictures are:
The Youth of Duguesolin.
Clotilde de Surville.
Charibert and Theodegilda. {Aiich. Museum.)
LAURENT, Marie Pauline, a French painter
on porcelain, whose maiden name was Jullien,
was born in Paris in 1805. She studied under
Alaux, and from 1836 was employed at the Sfevres
manufactory. She died in Paris in 1860.
LAURENT, Pierre, a French engraver, was
born at Marseilles in 1739. He studied a short
time under Balechou, and afterwards from the
works of Berohem, De Loutherbourg, and Poussin.
He established himself in Paris, where he engraved
several plates with considerable success, particu-
larly landscapes. He published in 1803-11, in con-
junction with Eobillard-P^ronville, the beautiful
collection entitled ' Musee Frangais.' He died in
Paris in 1809. Among others, the following prints
are by him :
The Water-MiU ; after Btmcher.
The Washer-woman ; after the same.
Saying Grace ; after Greuze.
A Caravan ; after Van der Does.
The Passage of the Ferry-boat ; after Berchem.
The Shepherdess ; after the same.
The Fortune-Teller ; after the same.
Two Landscapes, with figures and animals ; after
Dietrich.
An Italian Landscape, with figures and cattle ; after
H. Eoos.
Shepherds rejoicing ; after De Loutherlourg.
A View of Mondragou, in Dauphin^ ; after the same.
A Sear-port, with architecture ; after the same. •
The Death of the Chevalier d'Assas; after Casanova.
LAURENT, Pierre Louis Henri, the son of
Pierre Laurent, was born in Paris in 1779. He
engraved twenty-two plates, of subjects from the
life of St. Bruno, after Le Sueur ; the ' Death
of the Virgin,' after Caravaggio ;■ the ' Martyrdom
of St. Peter Martyr,' after Titian ; and several
landscapes after Potter, the whole of which form
part of- the ' Musde Franqais : ' also, the ' Rape of
the Sabines,' and the ' Finding of Moses,' after
Poussin ; the ' Communion of St. Jerome,' after
Domenichino; and many others after the great
masters. He published in 1816-22 the collection
of engravings of the ' Mus^e Royal,' which forms
a continuation of the ' Musde Frangais,' published
by his father. He died in Paris in 1844.
LAURENTINI, Giovanni, called Abragoni, a
native of Rimini about the year 1600, was one of
the best disciples of Federigo Barooci. He mostly
executed compositions of a large size. His best
works are at Rimini, and include ' The Martyrdom
of St. John ' at the Augustines, and ' St. John '
and ' St. Paul ' in the churches dedicated to these
two saints.
LAURENTIO, C, is mentioned by Strutt as the
engraver of some of the portraits in Priorata's
' History of the Emperor Leopold,' 1660.
LAURETI, Tommaso, called Tommaso Siciliano,
who flourished throughout the latter half of the
16th century, was a native of Palermo, and a
disciple of Sebastiano del Piombo. At an early
period of his life he established himself at Bologna,
where he painted several pictures for the churches.
The principal are the ' Martyrdom of SS. Vitale
and Agricola,' in the church dedicated to those
saints ; in San Giacomo Maggiore, the ' Resurrec-
tion of Christ,' and the ' Burial of St. Augustine,'
the latter a grand and copious composition ; in San
Mattia, the ' Coronation of the Virgin ; ' and in the
house of Signer F. Bolognetti, ' Venus embraced
by Cupid.' He was invited to Rome by Gregory
XIII., to finish the ceiling of the Sala di Constan-
tino, left imperfect at the death of Clement VII.
He was no less patronised by Sixtus V. and
Clement VIII. By the latter, he was engaged to
ornament one of the saloons in the Campidoglio,
where he painted in fresco scenes from Roman
history, one of his most considerable works. He
was the second president of the Academy of St.
Luke after its foundation, and flourished at Rome
in great esteem until his death at about eighty
years of age.
LAUREUS, Alexander, (or Laur-EUS,) a
Swedish genre and landscape painter, was born at
Abo in 1783. He visited Italy, after which he
abandoned painting Swedish scenes and took to
Italian subjects. He died at Rome in 1823.
LAURI, Baltassare, was born at Antwerp
about the year 1570. He went to Rome when he
was young, and became a scholar of his country-
man, Paulus Bril, under whom he proved a skilful
landscape painter. He died at Rome in 1642.
LAURI, FiLiPPO, the younger son of Baltassare
Lauri, was bom at Rome in 1623. He was first
instructed by his brother, Francesco Lauri, and on
the death of that promising artist, became a
scholar of Angelo Caroselli. The progress of
Filippo was extraordinary, and he soon surpassed
his instructor. He had a turn for poetry, was well
acquainted with history and mythology, and was a
master of perspective. He succeeded better in
easel pictures than in life-size figures, though he
painted some altar-pieces for the churches at Rome,
particularly his picture of 'Adam and Eve' in La
Pace. His best works are his bacchanals, and
subjects of fable. He imitated Albani in a very
pleasing manner, and was often employed to paint
the figures in the pictures of Claude Lorrain. He
died at Rome in 1694. His works have been
favourites with engravers, and have employed the
talents of Woollett, Byrne, Walker, Bragg, Major,
Caroline Watson, Wright, Mason, Ravenet, and
others. Among his paintings are :
25
Lauri
A BIOGRAPHICAL DICTIONARY OF
Lautensack
Aix-la-OhapeUe. Sue^^^ } The Glorification of Hunting.
Augsburg. Gallery. Jason and the Dragon.
Hague. Gallay. Landscape with Figures.
Hampton Court. Palace. Holy Family.
London. Sridgeioater ) Virgin surrounded by An-
House. J gels.
,, „ Bacchus and Satyrs.
Paris. Louvre. St. Francis of Assisi in
Ecstasy.
„ ,, Sacrifice to Pan.
,, „ The Punishment of Marsya^.
Petersburg. Bermitage. St. Anne teaching the Virgin
to read.
„ „ The Magdalene meeting
Christ in the Garden.
Rome. Doria Palace. Venus and the Seasons.
Vienna. Academy. Diana and Endymion.
„ „ Venus and Adonis.
„ „ The Chaste Susannah.
„ „ The Eape of Europa.
„ „ Alpheus and Arethusa.
„ „ Thetis and Polyphemus.
„ Gallery. The Flight into Egypt.
LAURI, rEANCESco, the elder son of Baltassare
Lauri, was born at Rome in 1610. Having shown
an early disposition for historical painting, his
father placed him under the care of Andrea Sacchi.
On leaving that master, he travelled through Italy,
France, and Germany, and returned to Rome, where
the expectations of his friends were destroyed by
his premature death in 1635, at the age of 25.
The only work mentioned as by him is a ceiling in
the Palazzo Crescenzi at Rome, representing ' Three
Goddesses.'
LAURI, GiACOMO, an Italian engraver, a native
of Rome, iiourished about the year 1610. He
published, in 1612, a set of one hundred and sixty-
six prints, entitled, 'Antiquae Urbis Splendor,'
consisting of views, executed with the graver, of
the ancient buildings of Rome.
LAURI, PiETRO, (or Laueibr,) who flourished
about 1650, was a native of France, though he
resided the gi-eater part of his life at Bologna^
where he was brought up in the school of Guido.
He painted several pictures for the churches at
Bologna ; some of which have the appearance of
having been retouched by Guido. At the Cap-
puccini is a fine picture of the ' Virgin presenting
the Infant Jesus to St. Felix' ; and in La Madonna
della Liberta, ' St. Anthony of Padua.'
LAURIE, RoBEET, (or Laweie, or Lowet,)
an engraver in mezzotint, who was also a
printseller, was born in London about the year
1740. In 1771, and again five years later, he
received premiums from the Society of Arts, the
second for an invention in aid of the printing
of colours in mezzotint. He died about 1804.
There are by this artist some portraits, and various
subjects, which possess considerable merit ; among
others, the following :
POETEAITS.
George III. ; after Zoffany. 1772.
Queen Charlotte ; after the same. 1772.
The Prince of Wales and Duke of York. 1772.
Elizabeth, Duchess of Hamilton ; after G. Bead.
Etienne Fran9ois, Duke de Choiseul ; after Van Loo.
David Garrick ; after Sir Joshua Reynolds. 1779.
The same, led off the Stage by Time towards the Temple
of Fame ; after T. Parkinson. 1779.
The same, with Mrs. Bellamy, as Eomeo and Juliet ;
after B. Wilson.
SUBJECTS AFl'EE VAEIOUS MASTEBS.
The Nativity ; after Rubens.
The Holy Family returning from Egypt ; after the same.
The Crucifixion ; after the same.
26
The same subject ; afier Van Dyck.
The Incredulity of St. Thomas ; after Rembrandt.
The Adoration of the Magi , after A. Casali.
Sun-rise, a landscape ; after G. Barret.
A hard Gale ; after Joseph Vernet.
A Squall ; after the same.
The Quack Doctor ; after Dietrich.
LAURIN, Heinrich Fribdeich, a German en-
graver, was born at Dresden in 1756. He was a
pupil of Adrian Zingg, and has engraved some
landscapes in a neat and spirited style. Some of
his first essays were after Salvator Rosa, Kobell,
&c. He died in 1830. The following also are by
him :
Two Landscapes ; after Kleughel.
A pair, the Fishermen, and the Waterfall of Liebethal ;
after Zingg.
Two large Views of Fano ; after Theil.
A Landscape and Cattle; after A. van de Velde.
LAURO, GiAcoMO, called Giacomo di Teeviso,
was bom at Venice in 1550. He was a pupil of
Paolo Veronese. In the church of the Dominicans
is a fine picture by him of ' St. Roch interceding for
the persons afflicted with the Plague.' He resided
in Treviso, where he died in 1605.
LAUTENSACK, Hans Sebald, a German painter
and etcher, was a son of Paul Lautensack, a
painter of Bamberg, where he was born in 1524.
Whilst he was yet a child his parents settled in
Nuremberg, and there he lived during the greater
portion of his life. In 1556 he was working in
Vienna, where he died between 1560 and 166.8.
There are by this artist several landscapes, etched
in a dark, unpleasant style ; and also some por-
traits, etched and finished with the graver, which
possess considerable merit. His engravings, which
follow the style of Altdorfer, are generally marked
with a monogram composed of the letters H. S. L.
on a tablet, with the date, thus : |3Ki| The
' ' |/S5/.|
following are his principal works :
POKTEAITS.
Paul Lautensack, painter of Nuremberg. 1552.
Hans Sebald Lautensack. 1554.
Hieronymns Schurstab, half-length; on one side his
arms, and on the other a \Tllage with a church.
1554.
Georg Boggenbach. 1554.
The half-length of a Nobleman, with a beard ; on one
side his arms, and on the other a fortified castle.
1554.
SUBJECTS AND LANDSCAPES.
A Landscape, -with David and Goliath. 1551.
Christ curing the Blind at Jericho. 1559.
A Mountainous Landscape, with the History of Balaam
and his Ass. 1559.
Villagers occupied in the Vintage. 1559.
A Landscape, with a Farm-Yard. 1551.
Two Landscapes ; dated 1553 and 1555.
The Tournament at the Marriage of the Emperor
Ferdinand ; very scarce. 1560.
A representation of Public Games; very scarce. 1560.
A large View of Nuremberg, from the west ; in three
sheets. 1552.
A similar View of Nuremberg, from the east ; in three
sheets. 1655.
WOODCUTS.
Portrait of Johannes Aventinns.
A Standard-Bearer.
LAUTENSACK, Heinrich, a painter and gold-
smith, was born at Bamberg in 1522. He was
a son of Paul Lautensack, with whom he went
to Nuremberg whilst young. In 1550 he went to
Lautensack
PAINTERS AND ENGRAVERS.
Iiawleas
Frankfort, Where he established the first collection
of paintings, and in 1553 published a treatise on
'Perspective.' He died at Frankfort in 1590.
Some plates are attributed to him, but on very
insufScient grounds ; they are in the style of Hans
Sebald Behara, though much inferior.
LAUTENSACK, Paul, a German painter and
organist, was born at Bamberg in 1478, but in
1525, on account of his having embraced the
reformed religion, he left that city and settled in
Nuremberg, where he painted many subjects from
the Apocalypse, and also wrote some treatises upon
it, which were collected and published at Frank-
fort in 1619. He, however, became so troublesome
by reason of his fanaticism, that he was in 1542
expelled from the city, but after a time he was
allowed to return, and is believed to have died
there in 1558. There are still in Bamberg some of
his paintings, chiefly copies of the prints of
Martin Sohongauer and the woodcuts of Albrecht
Diirer. His portrait, dated 1529, is in the Germanic
Museum at Nuremberg.
LAUTERER, Adam, was born at Vienna in 1700.
He studied under Joseph Orient, and painted
animals in the style of Berchem and Poelenborch.
He died at Vienna in 1733. There is a piu ure
by him in the Vienna Gallery, and others are at
Augsburg and at Prague.
LAUTERS, Paul, a Belgian painter, etcher, and
lithographer, was born at Brussels in 1806. He
studied under Malaise, and at the school of en-
gravers at Brussels, of which he became a pro-
fessor in 1836. He died at Brussels in 1875.
Among his paintings are :
View in the Pyrenees.
Valley of the Heuss, Switzerland.
A Hollow Way. {Brussels Gallery.)
View in the Forest of Mariemont.
Among his plates are a series of twelve, repre-
senting Brussels and its environs ; a series of
twenty-six, representing the banks of the Saone ;
fifty plates for the ' Views of Java, Sumatra, &c., '
by C. W. M. van de Velde, and the ' Entrance into
the Forest,' for which he obtained the prize at the
Ghent Academy in 1852.
LAUVERGNE, BAKTHiLEMT, a French marine
painter, was bom at Toulon in 1805, and died in
Paris in 1875.
LADW, PiBTEB. See Louw.
LAUWERS, CoENEAED, the younger brother of
Nicolaes Lauwers, was born at Leuze, about the
commencement of the 17th century. He learned
engraving at Antwerp, and executed several plates
after the Flemish masters, and others, with the
graver, in the style of his brother, though inferior
to him. He was living in 1660-61. The following
are by him :
POETEAITS.
Aertns Quellinus, architect ; after J. De Duyts.
Pieter Verbruggen ; after E. Quelh'rms.
Marius Ambrosias Capello, Bishcp of Antwerp; after
Diepenbeeck.
Aatoine Vigier, Jesuit ; after J. Cossiers.
SUBJECTS AFTEE VAEI0U3 MASTERS.
Elijah in the Desert, with an Angel bringing him food ;
after Rubens.
Christ bearing His Cros? ; after the same.
The Penitence of St. Peter ; after Cossiers.
The Crucifixion ; after the same.
The Virgin, with the InPant Jesus, St. Elizabeth, and
St. John, in a landscape ; after ischiavone.
LAUWERS, Jakob Jan, was born at Bruges in
1754. After studying at the Academy of hia
native city, he went to Italy, where he only
remained a short time. He then went to Paris,
where he met wilh a rich Dutchman, who placed
him at Amsterdam. He at first painted landscapes,
and afterwards interiors. There is an interior by
this artist in the Amsterdam Museum. He died at
Amsterdam in 1800.
LAUWERS, Nicolaes, a Flemish engraver, was
born at Leuze, near Tournay, towards the close of
the 16th century. He studied at Antwerp, under
the celebrated engravers af te"r Rubens, and attached
himself pnrticularly to the style of Paulus Pontius,
which he imitated with success. He was already
a master in the Guild of St. Luke at Antwerp in
1620, and became dean in 1635-36. He died at
Antwerp in 1652. There are several prints by him
from various masters, but his best plates are thosj
he engraved after Rubens. The following are hia
principal works :
POETEAITS.
Isabella, Infanta of Spain, with two Children, one hold-
ing a crown, the other her arms ; after Sniens.
Pra Lelio Blancatcio, commander of Malta ; after Van
Dyck.
SUBJECTS AFTEE VABIOUS MASTEES.
The Adoration of the Magi ; after Rubens.
Christ before Pilate ; after the same. In the later im-
pressions of this print, the name of Bolswert is sub-
stituted for that of Lauwers.
The Descent from the Cross ; after the same.
The Dead Christ on the knees of the Virgin, with Mary
Magdalene ; after the same.
The Triumph of the New Law ; in two sheets ; after
the same.
St. Cecilia, with Angels ; after Gerard Seghers.
Gamesters and Smokers in a Tavern ; after the same.
Jupiter and Mercury, with Baucis and Philemon ; after
J. Jordaens,
The Virgin appearing to a Carmelite ; after Diepenbeeck.
St. Agabus before the Virgin ; after the same.
LAVAL, PiEEEE Louis de, a French historical
painter, was born in Paris in 1790. He was a
pupil of Forestier and of Girodet, and exhibited at
the Salon from 1810 to 1865. There htp Pcripiural
subjects by him in some of the churches of Paris,
and ' Psyche abandoned by Cupid ' is in the
Museum at Grenoble. He died in Paris in 1870.
LAVALLEE-POUSSIN, Etienne de. See De
LA VALL^E.
LAVAUDEN, AltHonse, a French historical
and portrait painter, was born at Lyons in 1796.
He studied under Revoil and Gros, and painted the
' Battle of Beaug6 ' and two portraits for the
Versailles Galleries. He died in Paris in 1857.
LA VEEQ, Jakob. See Levecq.
LA VILLA-AMIL, Geronimo Peeez de. See
Perez de la Villa- Amil.
LAVILLE - LEROUX, Maeie Guilhelmine.
See Benoits.
LAVIT, Jean Baftiste Omee, a French land-
scape painter, who was a pupil of Duval, was born
in Paris in 1771, and died in 1836.
LAVREINCE, Nicolaus. See Lafrensen.
LAWLESS, Matthew James, a subject painter,
was born in 1836. He was a student of the Lang-
ham school, and a pupil of Gary and Leigh. He
executed the drawings for many of the wood-cuts
in ' Good Words ' and ' Once a Week,' and was
a member of the Etching Club. Among his
pictures exhibited at the Royal Academy may be
mentioned, 'The King's Quarters at Woodstock,'
27
Lawranson
A BIOGRAPHICAL DICTIONARY OF
liawrencff
exhibited in 1861, and ' A Sick Call,' in 1863, whioli
was his last contribution, as he died at Bayswater
in 1864. Some of his earlier works were rather
vulgar in subject and treatment, but those of a
later date showed more refinement.
LAWRANSON, Thomas, an Irish portrait painter,
who practised in London, was a member of the
Incorporated Society of Artists, where he ex-
hibited from 1764 to 1773. In the National Por-
trait Gallery is a portrait by him of O'KeafEe.
LAWRANSON, William, was a portrait and
subject painter, who practised in London in the
latter half of the 18th century. He was the son of
Thomas Lawranson, and like him a member of the
Incorporated Society of Artists, where he exhibited
from 1765 to 1770. He also exhibited at the Royal
Academy from 1774 to 1780. Amongst his works
were :
Nan Oatley, as Eiiphrosyne.
Palamon and Laviuia.
Ro-salind and Gelia.
Cymon and Iphigenia.
Lady haymaking.
LAWRENCE, Andrew, (known in Paris as
Ande£ Laurent,) an engraver, was born at West-
minster in 1708, and was taught drawing by M.
Regnier, who was then residing in Soho. He also
worked in crayons and in oil, but devoted himself
likewise to other accomplishments, being skilled in
languages and in music. Unfortunately he gave
his mind also to alchemy, and by its means got
through the fortune left him by his father, and had
to leave the country. After proceeding to Bologna
he came to Paris, where he worked at etching for
very slender daily wages under Philippe Le Bas,
and then under A. Pond. He died in Paris in
1747. He engraved the plates of the great gal-
lery at Versailles, after the drawings of Cochin.
There are also by him some plates after De Louther-
bourg, and the following :
Saul consulting the "Witch of Endor ; after Salvator
JRosa.
A Conversation ; after Tenters.
The Hay Harvest, and its companion; after Womoer-
man.
Halt of Officers ; after the same.
Le Soir ; after Berchem.
LAWRENCE, Mary, (afterwards Kearsb,) was
a flower painter, who exhibited at the Royal
Academy under her maiden name from 1794 to
1813, and under her married name of Kearse
from 1814 to 1830. She drew and engraved the
illustrations for her ' Various Kinds of Roses in
England,' published in 1797.
LAWRENCE, Samuel, a portrait painter, was
born in 1811. His first appearance in London was
at the Exhibition of the Society of British Artists
in 1834, when he contributed two portraits. In
1836 he sent to the Royal Academy portraits of
Matthew Gisborne, Mrs. Somerville, and another.
He died in 1884. His portraits are mostly in
crayons, and among them may be named :
Eight Honourable J. Erskine.
Charles Dickens (' Boz '). 1838.
Thomas Carlyle. 1841.
Sir Frederick Pollock.
John HuUah.
Professor Sedgwick.
Lord Ashburton.
Eev. Frederick Denison Maurice,
Sir Henry Taylor.
Dr. "Whewell.
Leigh Hunt.
George Grote.
28
James Spedding. , „ , . ^ 77
Charles Babbage. (^National Portrait Gallery.)
Captain Bourchier. (The same.)
Professor "Wheatstone. (The same.)
"William Makepeace Thackeray. (JThe same.)
Robert Browning.
LAWRENCE, Sir Thomas, was bom at Bristol,
on the 4th of May, 1769. Soon after his birth, his
father, who had been a solicitor, and afterwards a
supervisor of excise, took the White Hart Inn at
Bristol, but not prospering there he went to
Devizes, where at ' The Black Bear ' young Tommy
used to recite before the customers, and draw their
portraits. From Devizes they went to Oxford,
and from Oxford to Bath, at each of which places
young Lawrence was fully occupied in draw-
ing in chalks pastel portraits. In 1787 he first
visited London, where he received much valuable
advice from Sir Joshua Reynolds, who was then
near the end of his career. In his first years in
London he attempted classical art, but this proving
a failure, he devoted himself to portrait painting,
induced thereto by his portrait of Miss Farren,
afterwards Countess of Derby, painted in or about
1790. After this he soon began to make his way.
The King had already patronized him, and indeed
went so far as to insist upon Lawrence being made
an extra Associate of the Royal Academy, when
he was only twenty-one. In 1792, on the death
of Sir Joshua Reynolds, he was appointed to the
office of painter in ordinary to His Majesty, as also
to that of painter to the Dilettanti Society. In the
same year he was commissioned to paint the por-
traits of the King and Queen as a present for the
Emperor of China. In 1792 also he exhibited ten
portraits, one of which was that of the King.
In 1794 he was made an Academician, his pre-
sentation picture being ' A Gipsy Girl.' In this
year also Lawrence removed from Old Bond Street
to Piccadilly, from whence in 1797 he removed to
Greek Street, Soho. From 1798 to 1813 he exhibited
ninety portraits at the Royal Academy. In 1813
he removed to 65, Russell Square, where he spent
the remaining years of his life, and amassed
a matchless collection of drawings by the old
masters, of which those by Raphael and Michel-
angelo are nowinthe University Galleries at Oxford.
In 1814 Lawrence paid his first visit to the
Continent, but he was recalled from Paris by
comm and of the Prince Regent to paint the portraits
of the allied Sovereigns, their statesmen and
generals, which formed the commencement of the
Waterloo Gallery at Windsor Castle. In the
following year he was knighted by the Prince
Regent. During the Congress that met at Aix-la-
Chapelle in 1816, Lawrence was commissioned by
the Prince Regent to paint its chief members for
the Gallery. From Aix-la-Chapelle he went to
Vienna, and from "Vienna to Rome, where he
painted the portraits of the Pope (Pius VII.),
Cardinal Gonsalvi, and Canova. Leaving Rome
in December 1819, he returned in the following
year to London to find himself the elected President
of the Royal Academy. Between 1825 and the
year of his death, some of the finest of his works
were painted and exhibi|;ed, and none more beauti-
ful than his groups of mothers and children, in
portraying whose beauty and vivacity no Eng-
^ lish portrait painter except Reynolds has been
'happier. In 1829 he received the freedom, of
his native city, Bristol. To the exhibition of
this year— the one destined to be his last— he
contributed eight paintings, and on the morning of
Xawrenoe
PAINTERS AND ENGRAVERS.
January 7th, 1830, he expired suddenly from ossi-
fication of the heart. He was interred with nauoh
pomp in St. Paul's Cathedral, wtere he rests by the
side of his predecessor. Sir Joshua Reynolds.
Among the honours conferred on him in his life-
time were : — Member of the American Academy of
the Fine Arts, 1818 ; of the Academy of St. Luke,
1816; of the Academy of Vienna, 1820; of the
Academies of Florence, Venice, and Copenhagen,
1823 ; and of that of Bologna, 1824. The King
of France in 1825 sent him the Cross of the Legion
of Honour, and a set of Sevres china. The
following are some of his principal pictures :
Bristol. Corporation. .William, third Duke of Port-
land.
Dulwich. CoUec/e. William Linley.
Hampton Court. JPalace. Baron Geatz.
London. St. Sartholomcw's I t i „ ai, ™ n.
Hospital. I ^"^""^^^"^^^^y-
„ Duke of Wellington \ q -pr
{Apsley House). J ^^°''S^ ^ ^ •
„ „ „ Marchioness of Worcester.
„ „ „ Thomas Graham, Lord Lyne-
dooh.
„ „ „ Arthur, Duke of Wellington.
„ „ „ Duchess of WelMugton.
1814.
„ „ „ Henry William, Marquis of
Anglesey.
„ „ „ Marchioness Wellesley.
„ „ „ Henry, third Earl Bathurst.
„ Sir R. Feel. Lady Peel.
" ''''ltS!''-^lM''t'l^-BaiUie,M.D.
„ Dilettanti Society. Richard Payne Knight.
„ „ Sir H. Englefield.
„ „ Thomas, first Lord Dundas.
„ Soyal Academy. A Gipsy Girl.
„ „ His own Portrait.
„ Em/al Society. Sir Humphrey Davy.
„ United Service Club. Lord Saltoun.
" "'"^^^-r"-^} Sir Astley Cooper.
„ Nat. Portrait Gall. George IV.
„ „ Queen Caroline.
„ „ Thomas Campbell.
„ „ Elizabeth Carter.
„ „ Earl of Bldon.
„ „ Warren Hastings.
„ „ His own Porbrait.
„ „ Sir James Mackintosh.
„ „ Samuel Rogers.
„ „ William Wilberforce.
„ „ Et. Hon. W. Windham.
„ Rolls Court. Sir William Grant.
„ „ John Kemble, as Hamlet.
„ „ Mrs. Siddons.
„ • ,, John Fawcett, comedian.
„ National Gallery. John Julius Angerstein.
„ „ Mrs. Robertson.
„ Benjamin West, P.R A.
„ „ Countess of Darnley. (Lent
to the Walker Art Gallery,
Liverpool. )
„ „ Mrs. Siddons.
„ A Child with a Kid. (Lady
Georgiana Fane.)
„ British Museum. Sir Joseph Banks.
„ South ICennngton | q^^^^ Caroline.
Museum, j ^
„ „ SirCodringtonE.Cairington.
,, „ Lady Carrington.
Liverpool. Corporation, Rt. Hon. G. Canning;
Oxford. Christ Church. Wm., first Lord Auckland.
„ University College. Et. Hon. W. Windham.
Paris. Louvre. Lord Whitworth.
Windsor. Castle. Getrge IV.
„ „ Prince Metternich.
„ „ General TchernichefE,
„ „ General Overoff.
„ Earl Bathurst.
Lawson
Windsor. Castte. Prince Blucher.
" „ Cardinal Gonsalvi.
,) Duke of Wellington.
.. „ Pope Pius VII.
" „ The Hetmaun Platoff.
j» „ Earl of Liverpool.
j> I, Baron Hardenburg.
" „ Count Capo d'lstria.
>' „ Count Nesselrode.
i> „ Marquis of Londonderry.
!, Frederick William III., King
of Prussia.
>• !> Francis II., Emperor of
Austria.
" ,! Charles X., King of France.
!> . „ Archduke Charles.
», „ Alexander, Emperor of
Russia.
» „ Donna Maria da Gloria,
Queen of Portugal.
» ,1 Sir Thomas Lawrence, P.R. A.
» ,. Prince George of Cumber-
land, afterwards King of
Hanover.
.. „ Sir Jeffry Wyattville, R.A.
>> „ Duke of Cambridge.
>^ „ Duke of York.
» ,) Prince Schwarzeuberg.
» „ Et. Hon, George Canning.
>i „ Princess Amelia.
!; „ Sir Walter Scott.
i> „ George III.
I, „ William IV.
t» I, Princess Charlotte.
,) „ Earl of Eldou.
LAWRIE, Robert. See Laukib.
LAWSON, Cecil Goedon, was born at Welling-
ton in Shropshire in 1851. His father, William
Lawson, is a portrait painter, from whom he learnt
the elements of painting. He was always inclined
to art, and from fourteen years of age till he was
seventeen he employed himself in making careful
studies of fruit and flowers, bits of landscape, and
special clouds, or blossoms, or grasses. In 1866
he took his first sketching tour through Kent,
Sussex, and Surrey. His first appearance in public
was at the New British Institution in Bond Street,
where he exhibited a grey landscape called ' Ice
on the River.' In 1870 he took to drawing on
wood for the engravers, and made his first appear-
ance at the Academy with ' Cheyne Walk, Chelsea.'
In the Royal Academy of 1871 he exhibited ' The
River in Rain ' and ' Summer Evening in Cheyne
Walk.' In 1873 he made ii tour in Ireland, and
in 1874 he went to Holland, Belgium, and Paris.
In the same year he settled down at Wrothara,
and there commenced his picture of the ' Hop
Gardens of England,' which was in the Academy
of 1876. In 1878 'The Minister's Garden,' in the
Grosvenor Gallery, excited much attention. In
1879 he married, and went to live at Haslemere,
where in 1880 he painted 'The August Moon,'
which was presented by his widow to the National
Gallery. His health, however, began to fail, and
though he was in the Riviera in the winter of 1881,
he returned too soon, and died at Chelsea in 1882.
Besides those already mentioned he painted the
following pictures:
A Lament. 1872.
A Pastoral in the Vale of Miefod, North Wales. 1873.
The Voice of the Cuckoo. 1880.
Wharfedale, Yorkshire. 1881.
The Storm-Cloud, West Lynn, North Devon. 1882.
The Wet Moon, Old Battersea. 1882.
An Autumn Sunrise.
Sundown.
Strayed ; a Pastoral.
On the Road to Monaco.
29
Lazinsky
A BIOGRAPHICAL DICTIONARY OP
Le Bag
LAZINSKY, GuSTAV, an historical painter, was
born at Coblenoe in 1811. He was a brother of
Johann Adolf Lazinsky, and with him went to
Diisseldorf in 1829. He died at Mayence in 1870.
Among his pictures are :
Death of Tell.
The Cross-Bearer.
Departure of Gustavus Adolphus.
Death of Prince Ludwig.
LAZZARI, DoNATO, commonly known as Bea-
■ MAN'J'E, the ai'chitect of the basilica of St. Peter
at Rome, and whose name has now been proved to
have been Donato Bramantb, was born at Castle
Durante, now Urbania, near Urbino, in 1444. Of his
early life little is known ; but he i.s recorded to have
been from about 1472 to 1499 in Milan, where he
executed numerous architectural works of note.
Of his paintings, some damaged frescoes in the
Casa Prinetti (formerly Pauigarola), Milan, are
all that remain ; though he is recorded to have
decorated the facades of houses in that city, where
for a long time the ' Four Evangelists ' were pre-
served in a church as specimens of his bold fore-
shortening. Bramante was also an engraver ; there
exist three impressions of a plate by him, represent-
ing persons standing and kneeling around an altar
in a chapel ; it has been engraved in outline in
Roeini's ' Storia della Pittura Italiana.' One of
these is in the British Museum. Bramante died at
Rome in 1514, and was buried in the crypt of St.
Peter's.
LAZZARINI, Giovanni Andeea, a painter, poet,
and art- writer, was born at Pesaro in 1710. He
was instructed in painting by Francesco Mancino,
and studied at Rome under Fantuzzi from 17.^4 to
1749, and subsequently at Venice and Forli after
Gignani. He distinguished himself as a fresco-
painter : his design is correct and his compositions
are excellent. He was, however, a better teacher
than artist. His chief works are to be met with
at Gualdo, near Riiuini, at Osimo, Foligno, Ancona,
and Pesaro. He died at Pesaro in 1801.
LAZZARINI, Greqobio, was born at Villanuova
in 1657. He was a pupil of Francesco Rosa, a
Genoese painter, who resided some time at Venice,
but he soon abandoned the dark and gloomy style of
his instructor, and aimed at the higher excellences
of the simple and natural. On viewing the works
of Lazzarini, one would suppose him to have been
educated in the Bolognese, or rather in the Roman
school. Lanzi, however, asserts that he never
quitted Venice, and that by the impulse of his
genius alone he conciliated the esteem of the most
distinguished professors of his time, particularly
Carlo Maratti, who was not much accustomed to
over-rate the talents of his contemporaries. When
the Venetian ambassador, then resident at Rome,
proposed a commission to the Roman artists to
paint a picture for the Sal a dello Sorutinio, at
Venice, Carlo Maratti had the generosity to refuse
the offer, expressing his surprise that the ambas-
sador should apply to the painters of Rome while
Venice possessed such an artist as Lazzarini. Of the
justice of Maratti's appreciation of his talents, Laz-
zarini has given proof in the picture he painted on
that occasion, representing the triumphal memorial
of the Morosini. He distinguished himself still more
in his picture of ' St. Lorenzo Giustiniani,' at the
Patriarcale, which is esteemed by Lanzi the finest
oil painting of the Venetian school of the period in
which he lived, whether in regard to the grandeur
of the composition, the elegance of the contours,
30
or the variety in the heads and attitudes. In the
Academy at Venice there are four paintings by
him. Tiepolo was one of his pupils. Lazzarini
died at Venice in 1735.
LEADER, William, was a mezzotint engraver,
by whom there are a few prints after the old
masters ; among others, a small upright plate,
representing 'Samson,' after Rembrandt. He
was working in London about the middle of the
18th century.
LEAHY, Edward Daniel, a portrait and subject
painter, was bom in London in 1797. He exhibited
at the Royal Academy portraits and subject pic-
tures from 1820 to 1853. He died at Brighton in
1875. In the National Portrait Gallery is a
portrait by him of Father Mathew, the Apostle of
Temperance in Ireland.
LEAKE, Henry, an English portrait painter,
flourished in the latter half of the 18th century.
He studied under William Hoare, and practised in
London about 1764-6. He then went to the Bast
Indies, where he died.
LEAKEY, James, a portrait and landscape
painter, was born at Exeter in 1773. He was about
to enter the studio of Sir Joshua Reynolds, but was
unfortunately prevented by that artist's death. He
painted also a good many miniatures, and was
much patronized in the West of England. From
time to time he exhibited pictures at the Royal
Academy, amongst others ' The Fortune Teller,'
and ' The Marvellous Tale.' His style was much
after the manner of the Dutch School, and he
was called on one occasion by Sir Thomas Lawrence
the ' English Wouverman.' He died at Exeter in
1865, after having for many years been obliged to
give up the practice of his art.
LEAL, Juan de Valdes. See Valdes Leal.
LEAL, Simon de Legit. See Leon Leal.
LEANDER. See Redbe.
LEBARBIER, Jean Jacques FaANgois, called
Lebarbier l'aIn:!^, a French historical painter, was
born at Rouen in 1738. After gaining prizes in
his native city, he studied painting under Pierre,
first painter to the king. He next made drawings
in Switzerland for Zurlauben's 'Tableau topo-
graphique de la Suisse,' and afterwards went to
Rome. On his return he was elected an acade-
mician in 1785, on which occasion he painted
' Jupiter asleep on Mount Ida,' now in the
magazines of the Louvre. His works prepared
the way for the revolution begun by Vien and
carried out by David. He made designs for the
illustration of editions of Ovid, Racine, Rousseau,
and Delille, and also published some works on art.
The Louvre contains his ' Courage of the Spartan
Women,' dated 1787. He died in Paris in 1826.
LE BAS, Jacques Philippe, a French engraver,
was born in Paris in 1707. He was instructed in
the art of engraving by H4risset and N. Tardieu,
and was one of the best artists of his time. He
excelled in landscapes and small figures, which
he touched with infinite spirit and neatness. _ He
availed himself much of the freedom and facility
of etching, which he harmonized in an admirable
manner with the graver and dry point. The popu-
larity of his works procured him a number of
scholars, whose talents were employed in advanc-
ing the plates which he afterwards finished and
published with his name. He became an acade-
mician in 1743, his reception work being a ' Con-
versation galante,' after Lanoret, He died in
Paris in 1783. The number of his plates is very
Xiebas
PAINTERS AND ENGKAVERS.
Le Blond
large ; but the following are his most esteemed
works :
Portrait of Eobert Le Lorrain, sculptor ; after JJrouais,
1741.
Portrait of P. J. Gazes, painter ; after Aved. 1741.
The Four Times of the Day ; after Berchem.
The Embarkation ; after the same.
Environs of Groningen ; after Sttisdael.
Environs of Guelders ; after the same.
Daviii Teniers and his Family ; after Tenters.
The Works of Mercy ; after the same.
The Prodigal Son ; after the same.
A Flemish Festival, with Teniers and his Family ; after
Teniers.
The lafit four prints are of a superior execution, and
are among his best works. His plates after Teniers are
more than a hundred in number, and he appears to have
copied that master with great success.)
The Italian Chase ; after Wonwerman.
The Milk-pot ; after the same.
The Boar-hunt ; after the same.
Four large Hunting Scenes ; after Van Valens.
The Port of Messina ; after Claude Lorrain.
An Italian Landscape ; after the same.
An Itahau Sea-port ; after Joseph Vemet.
Fishermen going out ; after the same,
Tliirteen of the Ports of France ; after Joseph Vemet,
etched by Cochin.
LEBAS, Michel Oliviee, was born in Paris in
1783. He was a pupil of Regnault and of Langlois,
and distinguished himself especially by his en-
graving in mezzotint. He died in 1843. He en-
graved for Landon's ' Annales du MusSe.' One of
his best plates is ' The Bull,' after Paulus Potter,
in the Le Brun Gallery.
LE BEAU, Pierre Adrien, a French engraver,
was born in Paris in 1744. He has engraved
several portraits, and other subjects, after different
masters, among which are :
Louis XVI., King of France ; six different portraits,
after Binet^ and others.
Marie Antoinette, Queen of France ; ten different por-
traits, after Le Clerc, Binet, and others.
Louis Philippe, Duke of Orleans. '
Hyder Ali ; after J. Year.
Mile. Baucourt, actress.
Abb6 Terray, comptroller of finance under Louis XV.
A. E. J. Turgot, comptroller under Louis XVI. ; after
De Troy.
Jacques Necker, director of finances under Louis XVI. ;
aj ter Le Clerc.
LEBEDEV, Mikhail, a Russian landscape
painter, was bom in 1812. He studied at the
Academy of St. Petersburg, and afterwards
travelled iii Italy. He painted several views of
Rome and Naples, at which latter city he died from
cholera in 1837.
LEBEL, Antoine, a French landscape painter,
was born at Montrot (Haute-Marne) in 1706. He
was received as an academician in 1746, upon a
' Sea-piece,' which is now in the Museum at Caen.
He was the master of Aved, and died in Paris in
1793.
LEBEL, Charles Jacques, a French historical
painter, who was a pupil of David, exhibited at
the Salon from 1801 to 1827. He produced
several interesting works relating to the French
nation : among them, ' Napoleon visiting the Hos-
pice of Mont St. Bernard;' 'The Reduction of
the City of Paris by Henry IV. ;' 'A Trait of
Humanity in a French Grenadier ; ' and others of a
similar kind. The picture of ' Turenne asleep on
the field of battle, in winter, and his officers shelter-
ing him with their cloaks from the inclemency of
the weather,' was in the collection of the late Baron
BoUand. Lebel also painted a great number of
portraits.
LEBEL, Cli^ment Louis Marie Anne, a French
subject and animal painter, who was a pupil of
Lemoine, was born in Paris in 1772, and died in
1806. Some of his works are in the Museums of
Orleans and of Caen.
LE BERT, , a French designer and engraver,
flourished about 1770. He engraved the following
portraits after Cochin :
King Henry IV.
The Duke of Orleans.
The Count of Artois.
King Louis XV.
The Dauphin, afterwards Louis XVI.
LEBERT, Heinrich, an Alsatian landscape
draughtsman and flower painter, was born at Thann
in 1794, and died at Colmar in 1862.
LEBLANG, Alexandre, a French landscape
painter, was born at Ch&teauneuf in 1793, and died
in 1866. His ' End of the Deluge ' is in the Museum
at Angers.
LE BLANC, Horace, a French painter, who
resided at Lyons in the 17th century, was employed
by the Duke of Angoul^me in his gallery of Gros
Bois, near Paris. He was the master of Jacques
Blanchard.
LEBLANC, ThjSodore, a French battle painter,
born at Strassburg in 1800, was a pupil of Charlet.
He became a captain in the engineers, and died
from wounds received at the siege of Constantino
in 1837. Three of his works are at Versailles.
LE BLOND, Jacob Cheistoph, was born at
Frankfort in 1670, and was first instructed by C.
Meyer at Zurich. Prom tliere he went to Italy,
where he is said to have been a scholar of Carlo
Maratti. At the solicitation of Bonaventura van
Overbeck, he accompanied him to Amsterdam,
where he was employed for some time in painting
portraits in miniature, which were much esteemed.
He quitted Holland, and came in 1720 to London,
where he set on foot a project for printing mezzo-
tint plates in colour, so as to imitate the pictures
from which they were engraved. He executed
some large plates in this way, and disposed of the
prints by a kind of lottery. In 1730, he published
a work explanatory of the process, entitled ' 11
Coloretto, or the Harmony of Colouring in Paint-
ing, reduced to mechanical Practice, under easy
Piecepts and infallible Rules.' The book was
printed in English and in French. He soon after-
wards projected a plan for copying the cartoons
of Raphael in tapestry, and he made some fine
drawings from the originals for that purpose ;
houses were bought, and great expense incurred,
but the scheme failed of success, and Le Blond
left England, and went to Paris in 1732, where he
was not more successful, and died, it is said, in a
hospital in 1741. The following are the principal
prints he published, virhich, independent of the
novelty of the manner, certainly possess consider-
able merit :
POBTBAITS.
George II.
Queen Caroline.
Louis XIV. of France.
Prince Eugene of Savoy.
Cardinal de Fleury.
The Children of Charles I.
Petrus Paulus Kubens.
Anthonius van Dyck.
31
Le Blond
A BIOGRAPHICAL DICTIONARY OF
lie Brun
VARIOUS SUBJECTS.
St. Agnes ; after Domenichino.
St. Cecilia ; after the same.
The Eepose in Egypt ; after Titian.
The Entombment of Christ ; after the same.
Venus ; after the same.
The Triumph of Galatea ; after C. Maratti,
Cupid making his Bow ; after Correygio., or Parniiyiano.
The Chastity of Joseph ; after C. Cignani.
Christ on. the Mount.
Mary Magdalene.
St. Mary of Egypt.
St. John embracing the Infant Jesus ; after Van Dyck.
LE BLOND, Jean, a French historical painter
and printseller, was born in Paris in 1636. He
was received into the Academy in 1681, his picture
of reception being ' Jupiter hurling thunderbolts
at the Giants,' now in the Louvre. He was some-
times assisted in his works by Willem De Gheyn,
a Dutch painter. He died in Paris in 1709.
LE BLOND, Michel, a German engraver, was
bom at Frankfort in 1587. He chiefly resided at
Amsterdam, but travelled with Sandrart in Italy,
and stayed several years in England. He appears
to have been principally employed at Amsterdam
on ornaments for the goldsmiths. In 1626, he pub-
lished a set of ornaments, foliage, fruit, and flowers,
engraved with great neatness. His prints, which
are all very small, are executed entirely with the
graver in the finished manner of Theodoras De Bry.
He sometimes marked his plates with the accom-
panying cipher /nX • He died at Amsterdam
in 1656. The following prints are by him:
St. Jerome, seated at a desk writing, with an ornamental
border; a small circular plate, about the size of a
shilling ; dated 1610.
Figures dancing, in a small oval, with an ornamental
border ; signed M. Blomlus, 1612.
The Representation of a Marriage ; M. Blondus, 1615.
Two ornaments for goldsmiths ; inscribed Wilhelm van
Weelichkeit.
A very small plate of Ornaments with three Goblets.
Six plates, numbered, of Arabesque Ornaments for
Knife-handles; Michael Blondus fecit; very highly
finished.
The Arms of Albrecht Diirer.
LEBORNB, LoDls, a French painter and litho-
grapher, was born at Versailles in 1796. He was
a pupil of Eegnault, and became in 1843 director
of the School of Design at Nancy, and in 1848 con-
servator of the Nancy Museum, where there are
paintings by him. He died in 1865.
LE BOSSU, Daniel, a French engraver, flour-
ished from about. the year 1670 to about 1700. He
imitated the style of Fran9ois de Poilly, but without
much success. He is said to have resided some
time at Rome, where he engraved some plates after
the Italian painters, among which is 'The Resur-
rection of Lazarus,' after Giaointo Brandi.
LE BRUN, Chables, a French historical painter,
was born in Paris, February 24th, 1619. He re-
ceived his first instruction in art from his father,
who was a sculptor, and from an obscure painter
named Perrier. At the age of eleven he was
fortunate enough to be noticed by the Chancellor
Seguier, who placed him in the studio of Vouet,
and ever proved a constant friend to the rising
young artist. During the next few years his
progress and industry were remarkable. He at-
tracted the notice of Poussin, and in 1642 accom-
panied him to Italy, whither he was enabled to
proceed by the generosity of his patron. He was
received by the Barberini, then pai'amount in Rome,
32
and presented to Pope Urban VIII. His stay lasted
about four years, during which period he painted a
few works, but chiefly occupied himself in studying
from the antique. There is still extant a letter
written by him at this period, which shows how
greatly he was attracted by the smallest details
of classical antiquity. During his journey home, he
made a short sojourn at Lyons, where he executed
some commissions. Arrived at Paris, where his
reputation had preceded him, he at once settled
down to the practice of his profession. Orders
quickly flowed in upon him. He was one of the
numerous band of artists who worked for the
President Lambert de Thorigny on the decoration
of his h6tel on the tie St. Louis. The magnificent
Fouquet employed him at his ch&teau at Vaux,
and gave him a pension of 12,000' livres. For the
oratory of Anne of Austria, he painted a ' Cruci-
fixion,' and she presented him with her portrait
set in diamonds. By Mazarin he was introduced
to Louis XIV., and through the king's patronage
became, after the death of Le Sueur, the head of
the French school, exercising unlimited sway in
all matters relating to art in France. In 1648, he
took the principal part in the foundation of the
Academy, which was always an object of great
solicitude to him, and in which he filled success-
ively all the ofSces of honour. This was not the
only service French art owed to him. He was
greatly instrumental in the establishment of the
French school at Rome, and he was the first
director of the Gobelins manufactory on its found-
ation by Colbert. During all this time he was
painting unceasingly for his royal patron. After
the fire at the Louvre in 1661, the works in the
Apollo Gallery were entirely confided to him. He
also found employment at the royal chSleau at
Sceaux, and at the Pavilions at Marly. But his
greatest work was at the King's new and costly
hobby at Versailles. There he designed fountains,
statues, decorations, (fee, besides painting the
gigantic series of allegories commemorating his
royal patron's achievements. On the death of
Colbert in 1683, his supremacy began to suffer an
eclipse at the hands of Louvois, who favoured his
rival Mignard. He gradually withdrew from
court, and fell into a state of melancholy, which
continued until his death at the Gobelins in Paris,
on February 12, 1690.
The failings of Le Brun's art are neither few nor
small. His drawing is heavy, and his colour
unpleasing. Generally speaking, his execution
fails to reach the standard of his ideas, and his
efforts after the heroic are frequently overstrained,
becoming pompous and scenic. Still he was in
many cases inspired by great conceptions, and his
fertility was very wonderful. In the history of
French art he holds an important place from the
unlimited sway which he exercised, not beneficially
it must be owned, for so long a period.
The pictines by him in the French provincial
galleries are too numerous to mention. The fol-
lowing is a Tst of his works in some of the chief
European coUpctions :
Berlin. Galhry. Family of Eberhard Jabach.
Dresden. Gallery. Holy Family.
Dulwich. Gallery. Massacre of the Innocents.
" „ Horatius Codes.
Florence. Uffizi. Jephtha and his Daughter.
. " ,1 His own Portrait.
Lisbon. Academy. Allegory.
Modena. Estense Galleij. Moses iu the Land of Midian.
" 11 Moses and Jethro's Daughter.
Lebrun
PAINTERS AND ENGRAVERS.
Iieclerc
Munich. Gallery. La Valliere as a Magdalen.
„ ,, St. John in the Isle of Patmos.
Paris. Louvre. Series of five pictures illus-
trating the History of Alex-
ander. 1661—68.
„ ,) The Fall of the Angels.
,, „ The Repentant Magdalen.
)f „ Christ on the Cross siwrounded
by Angels.
„ „ The Elevation of the Cross.
„ ., The Adoration of the Shep-
herds.
Petersburg. Hermitage. The Agony in the Garden.
„ „ The Crucifixion. 1637.
Vienna. Gallery. The Ascension,
OJ.D.
LEBRUN, Feanqois Jean Baptistb Topino.
See Topino Lebrun.
LE BRUN, Gabkiel, the brother and scholar of
Charles Le Brun, was born in Paris in 1621, and died
there after 1667. He never arrived at any great
eminence as a painter, but is somewhat better known
as an engraver. He executed several plates after
the designs of his brother, and also after Tintoretto,
Carracci, and other masters, among which are the
following :
Portrait of Charles Fevret de St. Mesmin. 1657.
Allegory on the Peace of Cardinal Mazarin.
Frontispiece for the Memoir's of Vittorio Siri.
The Twelve Apostles ; after Charles Le Brun.
The Saviour; after tie same; on two sheets.
St. Martin ; after the same.
St. Anthony ; after the same.
A Thesis ; dedicated to the Parliament of Normandy ;
after the same.
LE BRUN, Marie Louise Elisabeth, whose
maiden name was Vig6e, was born in Paris in
1755. Her father was a portrait painter, but he
died in 1768. At the age of fifteen she executed a
portrait of her mother. She received lessons from
Davesne and Briard, and excellent advice from
Joseph Vernet. She supported herself and her
mother with her copies from great masters till her
mother married an avaricious jeweller, who took
all her earnings, and refused to supply her with
even the necessaries of life. Her reputation soon
began to spread, and in 1779 she painted her first
portrait of Marie Antoinette, whom she afterwards
painted no less than twenty-five times, and with
whom she was on terms of the greatest intimacy.
In 1776 she married Jean Baptiste Pierre Le Brun,
a painter and picture-dealer, and the grand-nephew
of Charles Le Brun. (He was born in Paris in 1748,
and died there in 1813.) In 1782 she paid a visit
to Belgium, and on her return Joseph Vernet
proposed her for the Academy, which Pierre op-
posed, but she was nevertheless admitted in 1783,
when she painted for her reception ' Peace bring-
ing back Plenty.' When the Revolution broke out
in 1789 she went to Italy and visited Bologna, Rome,
Naples, and Florence, painting a large number of
portraits, and was admitted a member of different
academies. She then went to Vienna, and in 1795
was at St. Petersburg, where she remained painting
portraits till 1801. She then returned to France, but
in 1802 she came to England, where she lived three
years. In 1808 and 1809 she was in Switzerland,
and on her return to France, she bought a country
house near Marly, which in 1814 and 1815 was
pillaged by the Prussians and the allied armies.
She then went to live in Paris, where she continued
painting, and where her salon was Ihe rendezvous
of the best sooietj- till her death, which took place
in Paris in 1842. Late in life she published her
' Souvenirs,' which appeared in Paris in 1837-39.
VOL. II. D
She painted a number of very pleasing semi-alle-
gorical subjects, and many portraits of distinguished
persons ; among which were Lady Hamilton, in the
characters of a Sibyl and a Bacchante j Madame de
Stael, as Oorinna ; Madame Catalani at the piano ;
La Bruyere ; the Abb6 Fleury ; and several princes
and royal personages. In some of her pictures
she imitated the style of Greuze. The Louvre
possesses by Madame Le Brun two paintings of
herself and her daughter, the portraits of Hubert
Robert and Josepli Vernet, the painters, and that
of Giovanni Paisiello, the composer.
LE BRUN, Nicolas, a French painter, the brother
of Charles Le Brun, was, according to Guillet de
St. Georges, the author of the landscape in Le
Sueur's ' Plan de I'ancienne Chartreuse de Paris,
port^ par deux Anges,' now in the Louvre. It
gives a view of the Tuilleries, the Louvre, the
Seine with the Pont-Neuf, and a part of the quay
opposite the Louvre.
LEBSCH^E, Carl August, a painter, etcher,
and lithographer, was born at Schmiegel, Poland,
in 1800. He studied at Munich, where his parents
settled in 1807. He painted landscapes and archi-
tecture in oil and water-colours, and designed
in the style of different masters. His etchings
are executed with great spirit, and he signed
with the initials G. L., or a monogram. He died
at Munich in 1877.
LE CAPELAIN, John, a water-colour landscape
painter, was born in Jersey about 1814. He had
no regular art instruction, and, unaided, acquired a
pleasing, though vague, style. He drew the views
for the Jersey Album presented to Queen Victoria
after her visit to the island. There is a large
collection of his works in the Jersey Museum. He
died in 1848.
LE CARPENTIBR, Charles Louis Fban(Jois,
a French painter, born at Pont-Audemer (Eure) in
1744, was a pupil of Doyen and of J. B. Descamps.
He was professor at the School of Fine Arts at
Rouen, and devoted himself chiefly to writing on
art. He died at Rouen in 1822.
LE CAVE, P., a water-colour painter, flourished
in the latter half of the 18th and in the beginning
of the 19th century. His works are chiefly land-
scapes with cattle and figures, and are in the tinted
style. His life was passed in poverty, and the date
of his death is unknown. There are four specimens
of his work in the South Kensington Museum, one
dated as late as 1806.
LECCIO, Matted da. See Alesio.
LECKERBET JEN, Vincent, a native of Antwerp,
who flourished about 1650, was called Manciol,
because he had lost his right hand. He lived chiefly
in Rome, where he executed several landscapes
and battle-pieces. At the castle of Vincennes in
Prance he painted four frescoes representing
scenes in the battles of Alexander the Great.
LECLAIRE, Victor, a French flower painter,
was born in Paris in 1830. He was a pupil of his
brother, L6on Louis Leclaire, and died in 1885.
His 'Fleurs d'automne,' painted in 1879, is in the
Luxembourg Gallery.
LECLERC, David, was born at Berne in 1680.
He was instructed by Werner, and at the age of
eighteen went to Frankfort. He worked after-
wards at the courts of Darmstadt and Cassel, and
then went to Paris and studied under Rigaud.
He returned to Frankfort, and in 1715 visited
England, but he eventually settled at Frankfort.
He painted flowers, historical subjects, and portraits,
33
Iisclerc
A BIOGRAPHICAL DICTIONARY OF
Lederwascli
of which latter that of Prince Louie of Hesse is
in the Darmstadt Gallery. He died at Frankfort
in 1788.
LECLERC, Isaac, the brother of David Leolerc,
was an engraver at the court of Cassel, where he
succeeded his father. He died in 1746.
LECLERC, Jacques S:fiBASTiEN, the son of S^bas-
tien Leolerc the younger, was born in 1734. He
was appointed assistant-professor of perspective in
the Academy of Paris in 1778, and died in 1785.
Some of his works are in the Museum at Caen.
LE CLERC, Jean, a French painter and etcher,
born at Nancy in 1587, was a pupil of Carlo Sara-
ceno. He engraved after Jean Cousin, and died
at Nancy in 163.3.
LECLERC, Jean Fr^d^eic, the son of David
Leclerc, was born in London in 1717. He
settled at Deux-Ponts, where he devoted himself
to miniature painting, and was living in 1768.
LECLERC, S^UASTiEN, the elder, a French en-
graver, was born at Metz in 1637. He was instructed
in the elements of drawing by his father, Laurent
Leclerc, a jeweller, and afterwards went to Paris.
He applied himself to geometry, physics, and
perspective, but by the advice of Le Brun he de-
voted himself entirely to engraving, and became
very proficient. He became an academician in
1672, and from that year to 1702 he was Pro-
fessor of Perspective at the Academy. He was
appointed engraver to Louis XIV., and a Professor
at tlie Gobelins. He died in Paris in 1714. He
produced about 3400 plates, of which a 'Catalogue
raisonii^ ' was published by C. A. Jombert in 1774.
Among them the most famous are:
The Battles of Alexander ; after Le Brun.
The Council of Nicjea.
The Apotheosis of Isis.
The Passion.
Greek and Eoman Costumes.
LECLERC, SiSbastien, the younger, a French
painter, was the eldest son of Sebastien Leolerc,
the engraver, and was born in Paris in 1676. He
was a pupil of Bon de BouUongne, and was ad-
mitted into the Academy in 1704, his reception
work being ' The Purification of ^Eneas previous to
his Deification,' now at Versailles. He exhibited
in the Salons of 1787, 1747, and 1751. He died in
Paris, at the Gobelins, in 1763. In the Louvre is a
picture of 'The Death of Sapphira.'
■^ LECCEUR, Jean Bapiistb, a French historical
and genre painter, was born at Le Mans in 1795.
He was a pupil of Regnault, and exhibited at the
Salon from 1822 to 1837, among his works being
that of 'Charles VII. and Agnes Sorel,' in the
Museum at Angers. He died in Paris in 1838.
LECOMTE, HiPPOLYTE, a French painter, was
born at Puiseaux in 1781. He was a pupil of
Mongin and of Regnault, and married Camille, the
daughter of Carle Vernet. He exhibited at the
Salon, from 1804 to 1847, historical subjects, land-
scapes, and battle-pieces. He died in Paris in
1867. Among his pictures are :
Joan of Arc.
Escape of Mary, Queen of Soots, from Loch Leven.
Battle of Mautern, in Styria.
Battle of Baab.
Louis XIII. storming the entrenchments of Pas-de-
Suze. {Fontainehleau.)
LECOMTE, Marguerite, a French engraver,
was born in Paris about 1719. She etched some
small Italian landscapes, but her name has been
saved from oblivion less by her merits as an artist
34
than by her connection with Watelet, with whom
in 1764 she visited Rome, where she etched the
lieads of Pope Clement XIII. and of Cardinal
Albani. She died at the end of the 18th century,
LE DAVIS, Edward, a painter and engraver,
was born in Wales about 1640. He was articled
as a pupil to Loggan, but not being treated to his
satisfaction, he fled from his indentures, and went
to France as a domestic servaat, but was able in
Paris to resort to his art in both its branches. On
his return he engraved some portraits and other
subjects ; among which are the following :
PORTRAITS.
Charles II. seated. (The head was afterwards effaced
and that of William III. substituted for it.)
Catharine, Queen of England; full-length; after J. JB.
James, Duke of York.
William, Prince of Orange; after Sir Peter IMy.
Mary, Princess of Orange ; after the same. 1678.
The Duchess of Portsmouth.
General Monck.
Charles, Duke of Eichmond, when a boy ; after Wissina.
1672. "
Stephen Monteage. 1675.
Bertram de Ashburnham, engraved for Guillim's ' He-
raldry.'
A Merry-Andrew ; after Frans Hals.
SUBJECTS AFTER VARIOUS MASTERS.
St. Cecilia, with Angels ; after Van Dyck.
Ecce Homo ; after Carracci.
Holy Family ; after a basso-rilievo hy Algardi.
LEDERER, Hans. To this artist Professor
Christ attributes some engravings marked with
the cipher \-\ ,, Brulliot and Nagler mention
a Hieronymus Lederer, and the former says there
are four prints by him expressing the tempera-
ments of men, the ' Sanguine,' the ' Phlegmatic,'
the ' Choleric,' and the ' Melancholic' The first
of these has the name h. lederer, and the last a
mark, which may be taken for /. L. or H. L.
Malpe, he says, attributes these prints to Hans
Lederer.
LEDERER, Johann, a painter, was the youngest
of three brothers who flourished at Augsburg,
and painted on glass and in oil. He was court
painter to the Prince-Bishop of Freising. In the
cathedral of Augsburg and in other churches are
altar-pieces by him and in the Franciscan church
at Freising is an altar-piece representing the
' Death of St. Francis of Assisi.' He died about 1785.
LEDERLEIN, Jakob, a German engraver on
wood, was born at Tubingen about the year 1566.
He executed a set of portraits of the professors of
the University in that city, which were published
by Erhard Zell in 1696. There are other prints
by this master, some of which are dated 1690,
He usually marked his works with the monogram
LEDERWASCH, Christoph, was a German en-
graver, who flourished at Salzburg from 1668 to
1687, and there also painted altar-pieces. Among
his engravings are ' The Virgin presented in the
Temple,' after RomaneUi, and 'The Heavenly
Glory,' after himself.
LEDERWASCH, Gregor, an Austrian painter,
was born at Salzburg in 1726. He painted many
altar-pieces, but his monochrome landscapes and
views were most celebrated. He died at Salzburg
in 1792.
Ledesma
PAINTERS AND ENGRAVERS,
Leech
LEDESMA, Blas de, was a Spanish painter of the
reign of Philip II. (1656—1598). He is mentioned
by Pacheco as a successful imitator of the frescoes
of Julio and Alessandro.
LEDESMA, Josef db, was born at Burgos in
1630. After acquiring some knowledge of paint-
ing in his native city, he came to Madrid and
entered the school of Carreno. His principal
works were a 'Burial in the Recollet Convent,' and
pictures of the Trinity and Saints in the Convent
of the Holy Trinity, which were pleasing in colour.
He died in 1670.
LEDOULX, PiETER, was born at Bruges in
1730. He studied at the Bruges Academy under
Jan Garemyn, and afterwards under Matthias De
Visch. He painted views, but his principal work
was his collection of insects and flowers painted
in miniature. He collected materials for a
' History of the Arts and Painters of the 18th and
19th centuries.' He died in 1807.
LE DOYEN, , a French engraver, lived at
Paris about the year 1666, and executed some
plates for the booksellers, among which are some
prints of ornaments, and the plates for a book
entitled 'Figures des diff^rents Habits des Clia-
noines reguliers en ce sifecle,' published at Paris in
1666.
LEDRU, HiLAlEE, a French portrait painter, was
born at Oppy, near Calais, in 1774. He was self-
taught, but several of his works were in high
repute, and gained medals. He died in Paris in
1840.
LE DUCQ, Jan, a Dutch painter, was born at
the Hague in 1636. He learned the principles of
art under Paulus Potter, and for some time imitated
the style of that admired painter of animals. He
afterwards changed his style, and painted corps-
de-garde, assemblies of oiEcers, and card-players.
His pictures of this description are more frequently
met with than his cattle-pieces, which are very
scarce. He was director of the Academy at the
Hague in 1671, and had acquired the reputation of
an able painter, when in 1672 he abandoned art,
and adopted a raihtary life. He died as a captain
between 1680 and 1685. Pictures by him are at
Amsterdam, Copenhagen, Dresden, St. Petersburg,
Vienna, and several other places. Le Ducq etched
a few plates from his own designs, among which
is a set of eight prints of dogs, very neatly and
spiritedly executed.
LEE, A., was a portrait painter, who pi'actised in
the reign of George II.
LEE, Anna, a native of London, was a pupil of
Parkinson, who gained a great reputation by her
paintings and drawings of natural history subjects.
She died about 1790.
LEE, Frederick Richard, a landscape painter,
wag born at Barnstaple in 1798. VS^hen very young
he served a campaign in the Netherlands in an
infantry' regiment. He then became a student in
the schools of the Royal Academy, where he first
exhibited in 1824. His works also appeared at
tlie British Institution, from which he received a
premium of £60 in 1829. The Academy elected
him an Associate in 1834, and an Academician in
1838. His works were chiefly inspired by English
scenery, and the cattle in many of them were
painted by Sidney Cooper. He ceased to exhibit
at the Academy after 1870, and spent the remain-
ing years of his life in yachting and travel. He
died in Cape Colony in 1879. Amongst his works
are :
London. Nat. Gallery. The Cover Side. 1839. {Lent
to the Corporation of Nottiny-
ham.)
>' >! Showery 'Weafcher. 1834. (Lent
to the Corporation of Glasgow.)
>• ,> Evening in the Meadows. 1854.
(Lent to the Walker Art Gal-
lery., Liverpool.)
>' I. A River Scene. 1855.
„ Sotith Kensiiig- 1 ,- t. ji j,
ton Museum, j Near Eedleaf.
)' >, Gathering Seaweed. 1836.
I. I. Distant View of Windsor.
„ Bridge-water Gall. St. George's Hill, Oatlands
Park. 1840.
Woburn. Abbey. Scene in Devonshire.
)' „ Scene in Woburn Park. 1839.
LEE, James, a wood-engraver, flourished in the
latter part of the 18th century, and in early life
worked for some time in Paris. He engraved the
illustrations for the 'Cheap Repository,' 1794-98,
Hansard's ' Typographia,' and for a reading-book,
' A Wreath for the Brow of Youth,' as well as for
many other children's books. He died in 1804.
LEE, Joseph, an enamel painter, was bom in
1780. He exhibited enamel miniatures at the
Royal Academy from 1809 to 1853. In 1818 he was
appointed enamel painter to the Princess Charlotte,
whose portrait he exhibited in the same year and
in 1823 ,- and in 1832 enamel painter to the Duke
of Sussex, whose portrait after Thomas Phillips,
R.A., he exhibited. He died at Gravesend in
1859. Therfi is an example of his art at South
Kensington.
LEE, William, a water-colour painter, was born
in 1810. His paintings consist chiefly of English
rustic and French coast figure-pieces. He was
elected a member of the Institute of Painters in
Water-Colours in 1846, and was for many years con-
nected with the Langham Scliool. Among the later
pictures painted by him were ' The Long Sermon,'
' The Rustic Beauty,' and ' The Drinking Fountain.'
He died in London in 1865.
LEECH, John, the eminent comic draughtsman,
was born in London in 1817. His father, John
Ijeech, was an Irishman, who possessed some
skill with the pencil, and from him the son in-
herited the talent. At three years old he was
discovered by Flaxinan seated on his mother's
knee drawing, and the great sculptor foretold that
he would astonish the world. At the age of seven
he was sent to the Charterhouse, where he formed
a life-long friendship with Thackeray. At the
age of sixteen he was placed at St. Bartholomew's
Hospital to study medicine, but he gradually gave
up his medical studies and resolved to devote him-
self to art. He was eighteen years old when he
published his first work, entitled 'Etchings and
Sketchings by A. Pen, Esq.,' which consisted of a
book, quarto size, of four leaves covered with
sketches. He next turned his attention to litho-
graphy, and his caricature of Mulready's envelope
brought him into notice. A great deal of his early
work may be seen in ' Bell's Life,' and in 1840, in
conjunction with Peroival Leigh, he published the
'Comic Latin Grammar' and 'Comic English Gram-
mar.' In August 1841, in the fourth number of
'Punch,' appeared Leech's first contribution. To the
second volume of " Punch ' his contributions did not
amount to more than half-a-dozen, but after that
till 1864 his drawings amounted to more than three
thousand ; and he is said to have received for them
more than £40,000. In 1840 he assisted Cruik-
shank with the illustrations to the ' Ingoldsby
35
Leemans
A BIOGRAPHICAL DICTIONARY OF
LefSvre
Legends,' and in 1844 he illustrated the 'Christmas
Carol' of Dickens. In 1847 appeared Gilbert i
Beckett's ' Comic History of England,' which was
followed in 1852 by the companion work, 'The
Comic History of Rome,' both profusely illustrated
by Leech. In 1853 appeared the series of sporting
novels entitled 'Mr. Sponge's Sporting Tour,'
' Handley Cross,' etc. In 1854 appeared the first
series of his pictures of ' Life and Character '
reprinted from 'Punch,' of which A second and a
third series were published respectively in 1858
and 1860. In 1858 Leech went a tour in Ire-
land, the result of which was the publication of a
book written by Canon Hole, his travelling com-
panion, and illustrated by himself. Among his
other etchings may be named those that appeared
in 'Punch's Pocket-Book,' and the wood-cut illus-
trations to ' Once a Week ' and the ' Illustrated
London News.' In 1862 he exhibited in the
Egyptian Hall his ' Sketches in Oil,' the subjects
of which were reproduced from the most remark-
able of his ' Punch ' drawings : this exhibition was
a great success. In the same year, in company
with Mark Lemon, he went to Paris, and after-
wards to Biarritz. In 1864 he went to Hamburg in
company with Alfred Elmore, and afterwards to
Schwalbach. On his return to England he went
to Whitby with his family, but after his return to
London he succumbed in the same year to the
malady from which he had long been suffering.
LEEMANS, A., was a painter of birds and acces-
sories of hunting scenes, who flourished at the
Hague about 166'2.
LEEN, WiLLEM VAN, was born at Dordrecht in
1753. He was a pupil of Arends, Cuyper, and
Ponse. At the age of twenty he went to Paris,
where he remained three years studying flowers.
He then went to Rotterdam, but in 1787 returned
to Paris, where he was induced to remain for two
years. In 1789 the Revolution compelled him to
quit Paris, and he went to Delfshaven, where he
died in 1825.
LEEPE, Jan Antoon van deb. See Van der
Lekpe.
LEES, Charles, a Scottish painter, who was
born in 1800, is chiefly known for his historical
paintings, such as ' The Murder of Rizzio ' and
'John Knox during his Confinement.' He also
executed various landscapes of merit. His paint-
ings were frequently seen on the walls of the
Royal Scottish Academy, of which he was a
member from 1830 until his death in 1880.
LEEST, ANTONins van, is stated by Papillon to
have been an engraver on Wood of some talent,
who executed, among others, four outs of the
' Four Evangelists.'
LEEUW, De. See Db Leedw.
LKKUW, Van dee. See Van der Lebuw.
LE F|;bRE, Rolland. See Lefbveb.
LP] FBBRE, Valentin, (or Lefebitee,) a Flemish
painter and engraver, was born at Bi'ussels in 1642.
During a long residence in Venice he painted
portraits and historical pictures in the style of
Paolo Veronese, and etched numerous plates after
that master, as well as after Titian and Tintoretto.
Many of his etchings were published in Venice in
1682, in a large folio volume, entitled, ' Opera
se'ectiora quse Titianus Veoellius Cadubriensis, et
Paulus CiiUiari Veronensis inventernnt et pinxerunt ;
qufEque Valentinus Le Febre Bruxellensis delineavit
et eculpsit.' He died at Venice about 1700.
LE FEBURE, FEANgois. See Le F^vee.
36
LEFEBURE, Valentin. .See Le Fbbee.
LEFEBVRE, Chaeles Victor Eugene, a French
historical painter, was horn in Paris in 1805. He
studied under Gros and Abel de Pujol. His first
contribution to the Salon was 'The Prisoner of
Chillon,' exhibited in 1827. He died in 1882.
LE PEBVKE, Claude, a French portrait painter,
was born at Fontainebleau in 1633. He studied
after the works of Le Sueur and Le Brun in the
chfiteau of that town, and became an excellent
painter of portraits, which resemble in their tone
the works of Van Dyck. In 1663 he was received
a member of the Academy, on which occasion he
painted the portrait of Colbert. After this he
went to England, and met with great encourage-
ment at the court of Charles II. He died in Paris
in 1675. Two of his portraits are in the Louvre,
and in the National Portrait Gallery is a portrait
by him of Isaac Barrow. He also etched a few
portraits. Jacques Lb Fbbveb, his brother, who
died in 1678, was also an excellent painter of
portraits.
LEFEBVRE, Robert. See Lefbvee.
LEFilVRE, DtisiEE Achille, a French engraver,
the son and pupil of Sdbastien Lefevre, was born
in Paris in 1798, and died in the same city in
1864. There are by him :
The Annunciation ; after Murillo.
Tlie Immaculate Conception ; after the same.
Jeanne d'Aragon ; after Raphael.
The Triumph of Galatea ; after the same.
The Sleeping Child (the King of Rome) ; after PrtuThm.
The Madonna of St. Sebastian ; after Correggio.
The Nativity, called ' Le Notte ' ; after the same.
The Sleep of Antiope ; after the same.
Napoleon I. ; after C. Steuben.
Amalie, Queen of France ; after Wlnterhalter.
The Duchess of Orleans, with the Comte de Paris ;
after the same.
LE F^feVRE, FRANgois, (or Lb Fbbueb,) was a
goldsmith and engraver, who worked in Paris
about 1635. Amongst his known works are six
engravings of flowers, entitled : ' Livre de fleurs
et de feuilles pour servir a I'Art d' Orf e vrerie.'
LE FEVRE, RoBEET, a French historical, por-
trait, and decorative painter, was born at Bayeux in
1766. It was intended by his father that he should
enter the legal profession, but his inclination for
art was too strong, and at the age of eighteen he
made the journey to Paris on foot in order to see
its treasures. He returned to Caen, and at length,
by the works which he executed in the chS,teau of
Airel, near St. Lo, he was enabled to raise funds
to study under Regnault at Paris. He obtained a
great reputation as a portrait painter, and most
of the eminent personages of the time sat to
him. On the Restoration, he was appointed
principal painter to Louis XVIII. He put an
end to his life in Paris in 1830, in consequence,
it is said, of being deprived of his appointments
by the Revolution of July. Amongst his works
are:
Antwerp. Museum. Portrait of Van Dael.
Caen. Museum. Portrait of the poet Malherbe.
Compi^gne. Museiim. Phocion.
Paris. Louvre. Love dit^armed by Venus. 1795.
Eochelle. Museum. Apotheosis of St. Louis.
Versailles. Gallery. Portrait of Napoleon I.
LEFEVRE, Rolland, called Rolland de Venise,
was born in Anjou in 1608, and spent considerable
time at Venice and London, in which latter city
he died in 1677. He painted portraits and his-
torical subjects of a small size. One of his best
Le FSvre
PAINTERS AND ENGRAVEKS.
Leicester
portraits is that of Cigala, which has been engraved
by Picart. He was patronized in England by
Prince Rupert, but he is more esteemed fur a mode
of staining which he introduced than for his skill
as a painter.
LE FEVRE, Valentin. See Le Febre.
LEGAT, Francis, an engraver, was born in
Scotland in 1756, and after receiving instruction
in art at Edinburgh under Alexander Runoiman,
he came in 1780 to London, where he found em-
ployment with Boydell and other publishers. In
consequence of bis engraving of ' Ophelia before
the King and Queen,' he was towards the end
of the century appointed engraver to the Prince
of Wales. He died in London in 1809. He
engraved several plates in a very iinished style, in
which he appears to have imitated the fine manner
adopted by Sir Robert Strange. Among others
are the following plates, which were engraved for
Boydell :
Mary, Queen of Soots, resigning her Crown ; after Gavin
Hamilton. 1786.
The Continence of Scipio ; after N. Poussin. 1784.
The King, Queen, and Laertes, in ' Hamlet ' ; after West.
The Children in the Tower, from ' Eichard the Third ' ;
after Northcote,
Scene from ' King Lear ' ; after Barry.
LEGILLON, Jean FEANgois,a Flemish landscape
painter, was born of French parentage in 1739
at Bruges, where he was a pupil of M. De Visch. In
1760 he went to Rouen and studied at the Academy
under J. B. Descamps, carrying off the silver
medal in 1762. In 1763 he travelled through
France and Italy, and returned to Rouen in 1769.
In 1770 he went to Rome, where he remained for
two years, and then travelled again through Italy,
returning to Bruges in 1774. There he established
a small school, but in 1779 he went to Paris, and
travelled through Switzerland, returning again to
Bruges in 1780. In 1782 he removed from Bruges
and settled in Paris, where he was made a member
of the Academy and painter to the king in 1789.
The troubles of the French Revolution compelled
him to return to Bruges, where he remained.
In 1797 the wish to see a friend took him again
to Paris, where he was seized with sudden illness
and died.
LEGNANI, Stbfano Maria, called II Legnanino,
was born at Bologna in 1660. He was called
' Legnanino ' to distinguish him from his father,
Ambrogio Legnani, a portrait painter, by whom he
was instructed in the first rudiments of design.
He afterwards studied at Bologna under Carlo
Cignani, and at Rome under Carlo Maratti. He
distinguished himself as a fresco painter, particu-
larly in Sant' Angiolo at Milan, where he has
represented a battle gained under the protection
of St. James, which is treated with a fire and
capacity equal to the most difScult subjects in the
art. Many of his works are at Genoa, at Turin,
and in Piedmont. The cupola of San Gaudenzio
at NoVara is esteemed one of his best works.
He died at Bologna in 1716. He has left some
etchings, among which are a ' Virgin ' and a 'Holy
Family.' In the Brera at Milan is a portrait of
the painter.
LEGNANO, Francesco da. See Barbibei.
LEGOTE, Pablo, was a Spanish painter, who
flourished in the early part of the 17th century.
Between the years 1629 and 1636 he was engaged
with Alonzo Cano in painting and gilding in the
church of Lebrija. The subjects of his pictures
were the ' Annunciation,' the ' Nativity,' the
' Epiphany,' and the two St. Johns. In 1647
Cardinal Spinola, Archbishop of Seville, commis-
sioned him to execute for the large hall of his
palace a full-length series of apostles. A similar
series, which hung in the church of the Hospital of
Pity, was by some attributed to him, but by others
to the elder Herrera. He afterwards went to
Cadiz, where he was employed in 1662 to paint
banners for the royal fleet.
LE GOUAZ, Yves Marie, a French engraver,
was born at Brest in 1742. He went young to
Paris, where he became a pupil of J. Aliamet, and
was afterwards instructed by Nicolas Ozanne. He
died in that city in 1816. There are by him a great
many plates of views of the sea-ports of France,
after the designs of Ozanne, and other subjects
after Hackert, Vernet, &c. ; among them are the
following :
Three Views of the Ports of Toulon, Brest, and Eouen ;
after Ozanne.
The Port of Antibes ; after the same.
View of the Port and Gulf of Calvi, in Corsica ; after
La Croix.
View of the Port of St. Lawrence ; after the same.
LE GRAND, Louis, a French engraver, was born
in Paris about 1730, and died about 1784. He was
cljiefly employed in vignettes and other illustrations
of books, many of which were after the designs of
Gravelot, Eisen, and others. He engraved a set of
plates for an edition of Ovid's 'Metamorphoses,'
published at Paris in 1767-71. There are also by
him some large plates of ruins.
LEGRU, Angelica. See Perotti.
LEGUAY, Charles IiItienne, was born at Sevres
in 1762, and studied design and painting in the
china manufactory of that town, where he was
afterwards employed. His chief objects of study
were Boucher and Van Loo, but he went to Paris
for improvement, and studied for some time at the
Academy. He died in 1840. His chief works are
on porcelain, but he painted also on glass.
LE HAY, Elisabeth Sophie. See Charon.
LEHMANN, Charles Ernest Rodolphe Henri
Salem, a French painter, was born at Kiel, in Hol-
stein, in 1814. He became a pupil of Ingres, and
contributed his first picture to the Salon in 1835.
His first works were Scriptural subjects, but his
reputation rests chiefly upon his portraits. He
was also employed in mural decorations, among
which were the chapels of the church of St. Merry,
and the gallei'ies of the H6tel de Ville, Paris. In
1861 he was made head of theAcad^mie des Beaux-
Arts, and in 1876 professor in the !^cole des Beaux-
Arts. He died in Paris in 1882.
LEHNEN, Jakob, was born at Hinterweiler,
Eifel, in 1803, and studied at the Academy of
Diisseldorf. He painted fruit, dead game, flowers,
birds, breakfast-tables, hunting-parties, and land-
scapes. Three pictures by him are in the National
Gallery at Berlin. He died at Coblenoe in 1847.
LEICESTER, Sir John Fleming, Bart., an
amateur draughtsman, was bom in 1762. He was
instructed by Vivares and Paul Sandby. He drew
in Indian-ink and tinted with bistre, and appears
as an occasional honorary exhibitor at the Royal
Academy. He was one of the originators of the
British Institution in 1805, and was distinguished
for his patronage of English art. He was created
Baron De Tabley in 1826, and died at Tabley
House, Cheshire, in 1827.
37
Xieicher
A BIOGRAPHICAL DICTIONARY OF
Lelio
LEICHER, FfiLix Ivo, a G-erman painter, was
born at Wagstadt in Upper Silesia in 1727. He
was first educated at Freyberg in Moravia, but
afterwards went to tBe Academy at Vienna, and
gained great reputation as a painter of altar-
pieces. He was still living in Vienna in 1811.
LEICHNER, JoHANN Geobg Heineioh Thbo-
DOE, was born at Erfurt in 1684. He was at first
a pupil of Hildebrand, and at the age of sixteen
he went to Leipsio to study under Lesohner, whose
daughter he married. He afterwards entered the
studio of Pahlmann, where he worked for several
years, copying the works of Van der Werf, Mieris,
Van iEIuysum, and others. He died at Leipsic in
1769.
LEIGBL, Gottfried, a native of Switzerland,
flourished from the year 1627 to 1660. He en-
graved a set of woodcuts of figures for the
Bible, which are marked with a cipher composed
of his initials Qy^.
LEIGH, James Matthews, an historical painter,
•was born in 1808. He studied under Etty, and oc-
casionally exhibited at the Royal Academy — chiefly
sacred subjects— from 1830 to 1849. During one
part of his career he was much occupied in literary
pursuits, and in his later years he established an
art school in Newman Street, which obtained a good
reputation. He died in London in 1860.
LEIGH, T., was a portrait painter, who practised
about the middle of the 17th century, and by
whom is a portrait of Robert Davis, a distinguished
Royalist, dated 1643.
LEINBERGER, Christian, a German painter,
was born at Erlangen in 1706. He worked in
Italy, and painted historical and allegorical pictures,
among which was the 'Stoning of St. Stephen.'
He died in 1770. His works are signed with the
initials G.L., or this monogram : ^j,
LEINBERGER, Geobg Karl, born at Erlangen
in 1718, visited Italy with his brother Christian
at the age of thirteen. After having stayed three
years at Venice, Rome, and Naples, he went by
way of Vienna to Frankfort, and painted with his
brother the ceiling in the Imperial Electoral Hall,
after which they worked in Westphalia and
Baireuth. Georg Karl went again to Italy, and
was employed at the court of Turin ; he subse-
quently visited Lyons, Paris, Holland, and Copen-
hagen, where he worked some time at the court,
and afterwards returned to Baireuth. He died
at Anspach in 1797.
LEIPOLDT, J. The name of this engraver is
afiixed to a small oval portrait of Mary, Queen of
Scots, with a crucifix in her right hand and the
axe in her left.
LEISMANN, Johann Anton. See Eismann.
LEISNIER, Nicolas Auguste, a French engraver,
■was born in Paris in 1787, and died at Clamart in
1858. Among his works are portraits of Marc-
Antonio and La Fornarina, after Raphael, and of
Cervantes, after Valazquez.
LEITCH, William Leighton, a Scottish water-
colour painter, was born at Glasgow in 1804. He
was educated at a private school, and afterwards
at the Highland Society School. As a schoolboy
he showed great liking for drawing, and made the
acquaintance of Daniel Macnee, afterwards Pre-
sident of the Scottish Academy, with whom he
used to study in the evening. He was placed by
his friends in a lawyer's- office, but he soon left
38
that uncongenial labour, and took employment
with a decorator and sign-painter. He then canie,
to London and worked as a scene-painter, and here,
he made the acquaintance of David Roberts and
Clarkson Stanfield. He then went to Italy, where
he remained for five years, and on his return to
London exhibited at the Royal Academy and other
exhibitions. He was teacher of water-colour
painting to the Queen, and other members of the
royal family. He died in London in 1883.
LEITNER, Johann Sebastian, an engraver,
was born at Nuremberg in 1715, and died in 1796.
He engraved for the works of Kuorr and others.
LEJEUNE, Lonis FEANgois, Baron and general,
and formerly aide-de-camp to General Berthier, was
born at Versailles in 1776. He claims a place hero
as the painter of many of the battles in which he
was engaged, and in which victory fell to the
French ; among them are those of Marengo, LodI,
Aboukir, Mount Tabor, the Pyramids, the Passage
of the Rhine by Jourdan, the Battle of Moskowa,
and several others, all sketched at the several
actions, and afterwards transferred to canvas. He
died at Toulouse in 1848. Some of his battle-
pieces have been engraved by Jacques Joseph
Coiny and Bovinet.
LE JDGE, G., a French engraver of the 17th
century, studied probably under Vouet. Among
his works are :
A Holy Family ; after his own design.
A series of thirteen Mythological Subjects ; after Agos-
tino Carracci,
The Communion of St. Jerome ; after the same.
LE KEUX, Henry, a line-engraver, born in
1787, vpas a younger brother of John Le Keux.
He was articled to Basire, and was engaged on
the Oxford Almanacs, and afterwards on the illus-
trations for the ' Beauties of England and Wales.'
He assisted his brother in Britten's ' Cathedrals,'
and with Blore produced the ' Monumental Re-
mains.' He engraved Claude's 'Embarkation of
St. Ursula,' as well as plates for the ' Forget-me-
not,' and other annuals, after Martin and Prout,
and after Turner for Rogers's ' Poems.' He retired
from his profession in 1838, and went to reside at
Booking in Essex, where he engaged in a crape
manufactory, and died in 1868.
LE KEUX, John, a line- engraver, was bom in
London in 1783. At first lio worked with his
father, a pewter manufacturer, but at the age of
about seventeen he was apprenticed to Basire, the
engraver. Architectural and antiquarian subjects
chiefly engaged his attention, and he worked much
in conjunction with Britton. He died in 1846.
Many of his works are to be found in :
Britton's ' Architectural Antiquities.'
„ ' Cathedral Antiquities.'
Beck's ' Annales Furnienses.'
Neale's ' Memorials of Oxford.'
„ ' Westminster Abbey.'
Pugin's ' Architectural Antiquities of Normandy.'
„ ' Specimens of Gothic Architecture.'
„ ' Examples of Gothic Architecture.'
Le Keux's * Memorials of Cambridge. '
Amongst bis separate plates are :
Maecenas' Villa ; after Wilson.
Basby Abbey ; after Turner.
Home ; after the same.
LELIE, De. See De Lelie.
LELIENBERGH, Coenelis. See Lilienbeegh.
LELIO DA NOVELLARA. See Orsi.
lielli
PAINTERS AND ENGEAVl^RS,
Le nrire
LELLI, Ebcole, was born at Bologna in 1702,
and became a scholar of Giovanni Pietro Zanotti.
He appears to have applied himself more to the
Btudy of the anatomy of the human body than to
painting ; and is more celebrated for his anatomical
preparations in wax, at the Bolognese Institute,
than for his works as a painter. The only paint-
ings by him mentioned are his picture of the Virgin
and Infant, with St. Anthony of Padua and St.
Clara, in the church of Sant' Andrea delle Scuole,
at Bologna ; and a St. Fidele, at the Gappuccini,
at Piacenza. He was an eminent teacher of de-
sign, and had many pupils. He afterwards became
director of the Academy at Bologna, and died
there in 1766. He has also left some engravings,
one of the best of which is ' Hagar and Ishmael.'
LELLI, Giovanni Antonio, was born at Home
in 1591, and was a disciple of Lodovico Gardi,
called Cigoli. Although he was more employed in
easel pictures for private collections, there are
some of his works in the churches at Rome, which
entitle him to the rank of a respectable historical
painter. In San Matteo in Merulano is an admired
picture by him of the ' Annunciation ' ; and in the
cloister of La Minerva, his most celebrated work
of the ' Visitation of the Virgin to St. Elisabeth.'
He died in 1640.
LELOIR, Louis, a French water-colour painter,
was born in Paris in 1843. He was a pupil of his
father Auguste Leloir, and sent to the Salon of
1863 'La Massacre des Innocents,' which was
followed by other excellent works. He died in
1884.
LE LOREAIN, Louis Joseph, a French painter
and engraver, was born in Paris in 1715. He was
a pupil of Jean Dumont, and visited Rome for
improvement. After his return he was received a
member of the Academy. He went to St. Peters-
burg in 1758, where he chiefly distinguished him-
self as a painter of theatrical decorations. He
died in that city in 1760, Two paintings by him
are mentioned :
The King of France as Apollo, protecting Fainting and
Sculpture.
The Graces ; a ceiling-piece.
He engraved some prints from his own designs,
and the following after J. F. de Troy :
The Judgment of Solomon.
Solomon sacrificing to Idols.
Esther before Ahasuerus.
The Death of Cleopatra.
LELY, Sir Peter. See Van der Paes.
LE MAIRE, Pranqois, was bom at Maison Rouge,
near Pontainebleau, in 1620. He was a portrait
painter and a good oolourist, and was the master
of Santerre. He was received into the Academy
in 1657, upon the portrait of Jacques Sarrazin, and
died in Paris in 1688. He was the nephew of
Pierre Le Maire, and to distinguish him from his
corpulent relative was called ' Le petit Le Maire.'
LE MAIRE, Pierre, a French painter and
engraver, was born at Dammartin, near Paris, in
1597. He was first instructed by Claude Vignon,
and resided afterwards twenty years at Rome.
After having returned to Paris in 1637 he went
again to Rome, where he however did not stay
long. He was the intimate friend of Poussin, and
was called ' Le Maire Poussin ; ' and, as he was a
corpulent man, he was also known as 'Le gros
Le Maire.' He died at Gaillon in 1659. In the
Louvre there are by him two views of the ancient
monuments of Rome. He distinguished himself
also as an etcher. His plates, executed in the
style of Vignon, are correctly drawn, and include
fourteen subjects from the history of Paris, 1637 ;
and ' David before the Ark,' after Domenichino.
LBMBKE, JoHANN Philipp, was born at Nurem-
berg in 1631. He studied for some time under
Matthaus Weyer and Georg Strauoh, and then
went, in 1653, to Italy, where the works of Pieter
van Laer and Jean Courtois had a great influence
on his style of painting. Lembke went subse-
quently to the court of Sweden to bo principal
painter to Charles XII. at Stockholm, where he
eventually died in poverty in 1713. It is in
Sweden — more especially in the castle of Drottning-
holm — that his pictures may be seen. The Vienna
Gallery has a ' Skirmish ' by Lembke of much
merit. The favourite subjects of this artist are
battles, marches, sieges, skirmishes — in fact any-
tliing with military action. His works are good in
composition, and equally well drawn and coloured.
He also etched several plates.
LEMENS, Balthazar, was born at Antwerp ,
in 1637, and was one of the first artists who visited
England after the Restoration, which held out a
prospect of a revival of the encouragement of the
arts ; but his expectations were disappointed. He
painted small historical subjects, in which he dis-
played a fruitful invention, and a neat and ready
execution. But the fashion of the time was con-
fined to portrait painting, and he was under the
necessity of finishing the draperies and backgrounds
for other artists. He died in London in 1704.
LE MERCIES, Antoine. There are by this
artist, who flourished about 1633, some slight but
spirited etchings of architectural ornaments, &o.,
after the designs of P. Collo.
LEMKRCIER, Jacques, born at Pontoise about
1585, was an architect and engraver. In the latter
capacity he etched with a spirited point the design
of a model (not executed) by Michelangelo for
the church of San Giovanni de' Fiorentini at Rome,
1607 ; the statue of Henry IV., erected in San
Giovanni in Laterano, in 1608 ; and the catafalque
at Rome for the obsequies of Henry IV., in 1610.
He died in Paris in 1654.
LEMERCIER, Philipp, was born in 1689 at
Berlin, where he attended the Academy. He after-
wards visited Italy, France, and Hanover. He
gained a reputation as a portrait painter, and
came to England, where he found ample employ-
ment for some time. After travelling through
Ireland and Portugal he returned to Berlin, and
died in 1760.
LE MERSION, Madeleine, a French lady,
etched a plate of a ' Landscape and Cattle,' in a
style resembling that of Danckerts. It was published
at Paris, without date or the name of the painter.
LEMETTAY, Pierre Charles, was born at
Fecamp in 1726. He studied under Boucher, and
after having obtained the first prize for Rome, he
went to that city, and afterwards spent two years
at Turin. On his return to Paris he became a
member of the Academy, and received the title of
painter to the king. He died in Paris in 1760.
His sea-pieces resemble those of Vernet. Leveau
and Zingg engraved after him.
LEMIRB, Antoine Sahvagb. See Sauvaqe.
LE MIRE, Noel, a French draughtsman and
engraver, bom at Rouen in 1724, was a scholar
of Le Bas. He made numerous illustrative en-
gravings for books ; particularly for the ' Contes '
39
Lemoine
of La Fontaine, 1762; 'Les Metamorphoses
d'Ovide,' published by him and Basan in 1767-71 ;
and ten plates after Eisen for an edition of the
'Temple de Gnide,' published in 1762. Independ-
ently of these he engraved for other works a great
number of subjects after Cochin, Eisen, and Moreau.
' Le Gateau des Rois,' a satirical representation of
the partition of Poland, by Moreau, was seized and
the plate destroyed. Le Mire died in Paris m
1801. The following are among his plates :
POETEAITS.
Queen Marie Antoinette, profile. 1775.
Alexis Piron ; after Lipicie.
Mademoi.selle Clairon, crowned by Melpomene, with
four French verses by Garrick ; after Gravelot.
General 'Washington ; aftei- Le Paon.
The Marquis de La Fayette ; after the same.
SDBJEOTS AFTER VARIOUS MASTERS.
The Virgin and Child, with St. John ; after Farmigiano ;
for the Dresden Gallery.
Jupiter and Dauae ; after Annibale Carracci.
The Death of Lucretia ; after Andrea del Sarto.
A pair of Views in Flanders, with figures ; after Tenters.
A View of Mount Vesuvius in 1757 ; after Lacroix.
The Arch of Titus ; after the same.
LEMOINE, Pierre Antoine, a French fruit and
flower painter, was born in Paris in 1605, and died
in the same city in 1665.
LEMOINE, SusANNE. See Silvestre.
LEilONNIER, Anicet Charles Gabriel, was
born at Ronen in 1743. He was destined for a
commercial life, but he abandoned it and studied
in Paris in the school of Vien, with David and
Vincent as fellow-pupils. In 1772 he carried off
the 'grand prix' with his picture of 'The Children
of Niobe killed by Apollo and Diana.' In 1774 he
went to Rome, and afterwards travelled through
Italy. In 1786 he was commissioned by the
Chamber of Commerce of Rouen to paint a picture
to commemorate the visit to Rouen of Louis XVI.,
which was exhibited in 1789, in which year he was
made a member of the Academy. In 1810 he was
appointed Director of the Tapestry Establishment,
which post he held for six years. He also re-
organized the Museum at Rouen, where there are
twelve of his works. He died in Paris in 1824.
Among his chief works are :
The Plague at Milan. 1785. (Rouen Museum.)
The Mission of the Apostles. 1793. {The same.)
Jesus calling to Him the Little Ones. 1783. (The same.)
Christ in the Synagogue. 1782. (The same.)
The Salon of Madame Geoffrin. 1814. (Munich.)
Francis 1. receiving at Fontaiuebleau Kaphael's ' Holy
Family.' 1814. (The same.)
Louis XIV. inaugurating Paget 's statue of Milo of
Orotona. 1814. (I'he same.)
LE MO YNE, FRANgois, a French historical painter,
was born in Paris in 1688. He entered the studio
of Qalloche, and in 1707 gained a prize for drawing,
and in 1711 the 'grand prix' with his picture of
' Boaz and Ruth,' which entitled him to go to Rome,
but the state of aif airs and the royal finances pre-
vented his journey. In 1714 he painted a picture
of ' St. John the Baptist ' for the church of St.
Eustache in Paris. In 1716 he painted a ' Tempt-
ation,' which is in the church of Camon, near
Amiens. In 1718 he became a member of the
Academy, and his reception picture was ' Hercules
and Cacus.' In 1719 he painted a picture of ' St.
Paul before Sergius,' which was destroyed in 1870
in the siege of Strassburg. In 1722 he painted a
picture of ' Tancred and Clorinda,' which is now in
the Museum at Besancon. He then took to deoora-
40
A BIOGRAPHICAL DICTIONARY OF
Lempereur
tive painting, and his first essay was in 1723, when
on the ceiling of the Novitiate of the Jacobins, which
is now the Church of St. Thomas d'Aquin, he
painted a large representation of the ' Transfigura-
tion.' In 1724 a patron, M. Berger, took him to
Italy, where he spent about six months, where he
seems rather to have studied Pietro da Cortona and
Carlo Maratti than Michelangelo. On his return
to Paris he painted ' The Bathers,' and ' Hercules
and Omphale.' In 1727, with his ' Continence of
Scipio,' he divided the honours with De Troy for
a prize offered by Louis XV. In 1730 he painted
an ' Assumption ' for the cupola of the chapel of
the Virgin in the church of St. Sulpice. He was
commissioned to decorate the ceiling of the Grand
Saloon at Versailles with the ' Apotheosis of Her-
cules,' an immense composition, which occupied
him four years. This work procured him in 1736
the appointment of principal painter to the king,
which had been vacant since the death of Boul-
longne in 1733. Notwithstanding this patronage,
and that of the King of Spain, for whom he was
commissioned to paint a large picture representing
' The Defeat of Porus,' owing to the loss of his
protector, the Duke d'Antin, he fell into a state of
melancholy. In 1737, when M. Berger visited
him, he found that his door was closed, and on it
being opened, it was discovered that Le Moyne
had stabbed himself in several places.
Among his principal paintings are the following:
The Apotheosis of Hercules. 1732-36. (Versailles.)
Hercules and Cacus. 1718. (Louvre.)
Hercules and Omphale. 1724. (Louvre.)
Cupid and Gephalus. 1724. ( Versailles Mairie.)
Venus and Adonis. 1729. (Stockholm Museum.)
The Ascension of Mary. (Cupola of St. Sulpice.)
The Transfiguration. [St. Thomas d'Aquin.)
LEMOYNE, FRANgois, (or Lemoine,) was a
French engraver, who flourished in the 17th cen-
tury, and was concerned with Berain and Chauveau
in designing and engraving the ornaments of paint-
ing and sculpture which are in the Gallery of
Apollo in the Louvre.
LEMPEREUR, Catherine Elisabeth, whose
maiden name was Cousinet, the wife of Louis Simon
Lempereur, was born in Paris in 1726. She was
instructed in engraving by Laurent Cars and
Fessard. There are several pleasing prints by
her, among which are the following :
Two Architectural Subjects ; after Fannini.
The Milkmaid ; after Teniers.
The Dangerous Forest ; after Wouwerman.
The Rural Labours ; after the same.
The Departure of Jacob ; after Boucher,
Six Marine Subjects and Sea-ports ; after Vemet.
LEMPEREUR, Jean Baptistb Denis, the son
of Jean Denis Lempereur, was born in Paris about
1740, and inherited the taste and talent of his
father. It is probable that he died in 1796. He
etched several plates after various masters, as well
as from his own designs, among which are the
following :
The Angel announcing to the Shepherds the Nativity
of Christ ; after Boucher.
The Murder of the Innocents ; after Fierre.
Two Landscapes ; after Suisdaei.
LEMPEREUR, Jean Denis, a French amateur
engraver, was born in Paris in 1701, but the date
of his death is not known. He possessed an ex-
tensive collection of pictures and drawings, and
etched a variety of plates after Pietro da Cortona,
Benedetto Castiglione, Van Dyck, and others.
Lempereur
PAINTERS AND ENGRAVERS.
LEilPEREUR, Loms Simon, a French engraver,
was born in Paris in 1728. He was a pupil of
Pierre Aveline and Laurent Cai-s, and became a
member of the Academy in 1776. He afterwards
came to England, where he met with consider-
able encouragement, but after a time returned to
France, and died in Paris in 1807. There are several
prints by this artist, which prove him to have
possessed very eminent talents. The following are
his principal plates :
PORTRAITS.
Etienne Jeaurat, Painter to the King ; after SosHn ;
engraved for his reception into the Academy.
Pierre Laurent Buyrette de Eelioy, a dramatic poet;
an emblematical portrait, after Mlain. 1765.
Philippe Cayeux, sculptor ; after Cochin.
Claude Henri Watelet ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Bathers ; aftej- C. van Loo.
The Triumph of Silenus ; after tlie same.
Aurora and Tithouus ; after Fierre.
A Sacrifice to Pan ; after the same.
Bacchus and Ariadne ; after tlie sanu.
The Forge of Vulcan ; after the same.
The Bape of Europa : after tlie same.
Pyramus and Thisbe ; after J. B. Cazes.
The Garden of Love ; after Rubens ; the same subject
was engraved by Glouet and G. Jegher.
A Spanish Festival ; after Falamedts.
Flemish Merry-makings, a pair ; after Tenia-S.
The Bape of Proserpine ; after La Fosse.
LEMPUT, Remi tan, was born at Antwerp,
and arrived at some excellence by copying the
works of Van Dyck. He came over to England,
and died in London in 1675. His daughter was
an artist, and married Thomas Streater.
LE NAIN, Antoise, Lodis, axd Mathieu, three
brothers, and the sons of a sergeant, were born at
Laon in 1588, 1593, and 1607 respectively. After
learning the elements of painting they together
went to Paris, where Antoine was received as a
painter in 1629. L6tofEe was instructed by Antoine
about 1630, and his paintings, which are inferior
to those of his master, are generally attributed to
Louis and Mathieu. The three brothers worked a
long time together in Paris, and became members
of the Academy in 1648, but both Antoine and
Louis died in Paris in May of the same year.
Mathieu painted historical subjects for churches,
and portraits, among which were those of Cinq
Mars, Cardinal Mazarin, and Anne of Austria.
He died in Paris in 1677. It is probable that
the very interesting and pleasing subjects known
as the works of Le Nain were painted by
Louis and Antoine conjointly. They consist of
familiar objects and incidents, such as interiors of
inns, rustic habitations, domestic enjoyments, card-
players, and village pastimes, and tliey have
characteristic peculiarities that distinguish them
from the works of all other masters. They are un-
equalled for natural expression and an air of truth.
The pictures by the Le Nains, which are best known,
are of the cabinet size. There was one of unusually
large dimensions in Watson Taylor's collection,
representing the interior of an inn, with a party of
travellers, an itinerant performer on the hurdy-
gurdy, and several other figures. Specimens are
to be found in some of the richest cabinets in Eng-
land, France, and Germany. The following are
some of their principal works :
Lengerich
Florence. Museum.
Loudon. fStafford House.
Luton. Marquis of Bute.
Museum.
Nevers.
Paris.
Louvre.
St. Etienne 1
Adoration of the Shepherds.
Fife-player.
The Studio ot Le Kain.
St. Michael offeriug Alms to
the Virgiu.
Procession in a Church. (Doubt-
ful)
The Holy Manger.
The Smithy,
The Watering Place
The Village Eepast.
'du Mo^'.}'^'^^ Nativity of the Virgm.
„ St. Laurent. The Visitation.
II Temple. The Presentation.
Rouen. Museum. Eustio Interior.
Valenciennes. Museum. Two Men playing at Cards.
LENDINARA, Lorenzo da. See Canozzi.
LEXEY, William S., an engraver, was born in
London, and practised as a stipple engraver to-
wards the end of the 18th century. He was a
pupil of Tomkins. He produced a large plate of
the ' Descent from the Cross,' after Rubens, and
engraved for the Shakespeare Gallery. He emi-
grated to America, where he made some money by
engraving bank-notes, and bought a farm on the
St. Lawrence, a little belolv Montreal, where he
was living in 1808.
LENFANT, Jean, a French engraver, was born
at Abbeville about 1615, and died in Paris in 1674.
He was the cousin and pupil of Claude Mellan, and
followed the first style of that master, in which
he used tlie cross strokes. The greater part of
his prints are portraits, which are his best works.
The following plates are by him :
PORTRAITS.
The Count de Brienne ; after Le Brun.
Jacques de Souvre ; after Mignard. 1667.
Francois du TiUet ; Lenfant ad vivum faciehat. 1663.
Nicolas Blasset, architect. 1658.
Francois de Harlay, Archbishop of fiouen ; after Cham-
paigne. 1664.
Louis Boucherat, Chancellor of France. 1670.
SUBJECTS.
The Bust of the Saviour ; oval ; after Raphael.
The Virgin suckling the Infant; circular; after Anni-
hale Carracci.
The Virgiu adoring the Infant ; oval : after Guide Rem.
Christ crowned with Thorns ; after Annibale Can-acci.
LENFANT, Pierre, a French battle-painter,
was bom at Anet, near Dreux, in 1704, and died
in Paris in 1787. He was a pupil of Parrocel, and
was made an academician in 1745, as a painter of
landscapes and battle scenes. At Versailles are the
following works by him :
The Taking of Mervin.
The Siege of Friboorg.
The Siege of Mons.
The Siege of Toumai.
LENGELE, Martinds, was bom at the Hague
in 1604, and distinguished himself as a portrait
painter. There was by him in the Shooting-house
a painting with ten large figures, representing
the Company of Orange. He was appointed
Director of the Academy in 1656, and died in 1661.
LENGERICH, Heinrich, was born at Stettin in
1790, and studied under Wach. In 1817 he visited
Italy, where he studied chiefly the works of Raphael
and Correggio. He was professor at the Academy
at BerUo, where he died in 1865. A 'Taking
down from the Cross ' by him is in the church of
St. Jakob at Stettin.
41
Lenker
A BIOGRAPHICAL DICTIONARY OF
Lenz
LENKER, Hans, was a goldsmith at Nuremberg.
There is by liiin in the Royal Library at Munich a
book of prayers ornamented with beautiful minia-
tures, the' covers of which are engraved and
enamelled in silver, and dated 1573. He was
burgomaster at Augsburg. Hans Lenker, the
elder, who is supposed to have been his father, was
the author of a treatise upon optics, published in
1616.
LENOIR, Adelaide, whose maiden name was
BiNAET, was born in Paris in 1771. She was first
instructed by her father, and afterwards by Beg-
nault. She painted several portraits, among which
was that of her father, most of which were ex-
hibited between 1801 and 1817.
LENOIR, Maeib Alexandre, was born in Paris
in 1761. He was instructed in painting by Doyen,
but it is chiefly as an art lover and writer that he is
known. At the outbreak of the French Revolution
he received permission from the National Assembly
to collect the principal ecclesiastical monuments
and art treasures into one place, and he used the
Convent of the " Petits Augustins " as a museum,
of which he became the president, and published
eight volumes descriptive of its formation and
contents. He also wrote a history of French art,
and a work on hieroglyphics. His museum was
scattered under Louis XVIII. 's government, and
its president became in 1816 curator of the Royal
Monuments. His collection of French portraits
is at Staiford House, and has been lithographed
by Lord Ronald Gower. He died in Paris in 1838.
LENOIR, Paul Marie, was a French painter of
ability, who died at Cairo in 1881. He was a
pupil of GerSme and Jalabert, and his ' Les Courses
a Osaka, Japon,' in the Salon of 1880, attracted
considerable attention.
LENOIR, Simon Bernard, a French portrait
painter, was born in Paris in 1729, and died in the
same city in 1789.
LENS, Andrew Bernard, and Peter Paul, were
miniature painters, who practised in London about
the middle of the 18th century.' They were sons
of Bernard Lens the younger. The first-named
exhibited at the Incorporated Society from 1765 to
1770, and sold a collection of his own and his
father's works in 1777.
LENS, Andries, was born at Antwerp in 1739,
and was a scholar of Ykens and Balthasar Beschey.
At the age of sixteen he obtained the first prize
at the Academy, of which he became a pro-
fessor in 1763. In 1764 he was appointed court
painter to Prince Charles of Lorraine, and went
the same year to Italy, where he studied after
Raphael and the old masters. In 1781 he estab-
lished himself at Brussels, where he painted for
the palaces and churches. He was a member of
the Institute, and he died at Brussels in 1822. He
has been called the regenerator of painting in
Belgium, and a monument has been erected to
him in Notre-Dame de la Chapelle, Brussels. The
following are his most important paintings:
Antwerp. Gallery. The Annunciation. ,
,, „ Allegorical Subject.
„ „ Portrait of Maiteuasie, the
Engraver.
Brussels. Oallei'y. Delilah cutting off the Locks
of Samson.
„ Hotel Stevens. The principal events in the
Fables of Bacchus.
Ghent. St. Michel. The Annunciation.
Li(^ge. Ch. of Aleriens. Subjects from the New Testa-
ment.
42
Lille. Madeleine. The History of St. Mary Mag-
dalene.
Lyons. Alexian Chxirch. Several paintings.
Vienna. Gallery. Several mythological paintings
formerly in the palace of
Laeken.
LENS, Bernard, the elder, the son of a painter
of the same name, of little note, was bom in
London in 1659, and was instructed by his father.
He was a mezzotint engraver, and also etched a
few plates, and drew views in Indian ink. He
died in 1725. The following plates are by
him :
David with the Head of Goliath ; after Domenico Feti.
The Judgment of Paris ; after Sir Peter Lely.
Bacchus, Venus, and Ceres ; after F. Badens.
Three Landscapes, with Figures and Cattle ; after Bcr-
chem.
Einaldo and Armida ; after J. Vandervaart.
LENS, Bernard, the younger, the son of Ber-
nard Lens the elder, was born in London in 1680,
and became celebrated for his fine copies in
water-colours from Rubens, Van Dyck, and other
masters. He was also an eminent miniature
painter and drawing-master, and had the honour
of instructing the Duke of Cumberland, and of
becoming enameller and miniature painter to
George II. He etched a few portraits, and two
or three drawing-books of landscapes and views,
which he published for the use of his pupils. He
died at Knightsbridge in 1740. He also engraved
in mezzotint; an account of 23 plates is given by
Nagler.
LENS, Jacob, a Flemish portrait and historical
painter, brother of Andries Lens, was bom at
Antwerp in 1746, and died about 1814. Amongst
his pictures are :
Antwerp. Church «/j presentation in the Temple.
Auyustimans. J ^
Brussels. Gallery. Portrait of the Emperor Leo-
pold.
LENTHE, Friedrich Christoph Georg, was
born at Grabow, in Mecklenburg Schwerin, in 1774,
and studied under Grassi at Dresden. He was
director of the Gallery in 1811-12, and afterwards
court painter of the Grand-Duke. He died at
Ludwigslust in 1851. He worked with great
ability, and his paintings are marked by a deep
religious feeling. He also painted portraits, and
was successful in mezzotint engraving. A ' Death
of Christ ' by him is in the cathedral of Schwerin.
LENTZEN, Jan Fraks, a Flemish landscape
painter, was born at Antwerp in 1790, and died
there in 1840. He is known chiefly by his success-
ful copies of the works of Oinmeganck.
IiENTZNER, Johann Nikolaus, was born at
Schleiz in Voigtland, in 1711. He was instructed
by Dietrich at Weimar, and studied afterwards
under Hamilton, in whose style, as well as in
that of Wouwermanj Heinrich Roos, and Dietrich,
he executed excellent landscapes, ruins, and cattle.
He settled at Frankfort, and died there in 1749.
In addition to several drawings in Indian ink and
ruddle after the above-mentioned artists, he has
left one of the ' Festivities at the Coronation of the
Emperor Charles VII. in 1741.'
LENZ, Karl Gottlieb, was born at Dresden in
1753. He was a pupil of Hutin, and resided for
some time at Schenau, but in 1788 he went to
Rome, where he died in 1790. Among his works
were ' Paul and Festus,' and the ' Worship of the
Golden Calf.'
Leon
PAINTERS AND ENGRAVERS.
Leone
LEON, Christobal de, a scholar of Valdes
Leal, painted eighteen monastic portraits, and
some decorations in distemper for the church of
San Felipe Neri, by which he proved himself,
according to Cean Bermudez, one of the best artists
in Seville after the death of Murillo and Valdes.
He died at Seville in 1729.
LEON, Felipe de, a Spanish historical painter,
appears to have been the brother of Christobal
de Leon. He imitated the style of Murillo, and
also copied the works of that master. Many of
his copies were formerly at Seville, where they
were held in great esteem by the amateurs. He
likewise produced several pictures of his own
composition ; among others, ' The Prophet Elijah
ascending to Heaven in a Chariot of Fire.' He
died at Seville in 1728.
LEON, Juan de Vanderhamen y. See Van-
DERHAMEN Y LEON.
LKON, Juan Valdelmira de. See Valdelmira
DE Leon.
LEON LEAL, Simon de, a Spanish painter, was
born at Madrid in 1610. He was a scholar of
Pedro de Las Cuevas, and distinguished himself
both in history and portraits. In the latter, he
formed his style from the chaste and simple colour-
ing of Van Dyck. For the Prernonstratensian
Friars he painted aij allar-piece representing ' St.
Norbert triumphing over Heresy,' and another
picture of ' St. Norbert receiving his vestments
from the hands of the Virgin.' For the church of
the Noviciado of the Jesuits he painted an altar-
piece, and a series of pictures of the Infancy of
Christ, and for the church of the Capuchins an
' Immaculate Conception.' He was appointed
painter to the queen, and was much employed by
the court. He died at Madrid in 1687.
LEON SALCEDO, Ignacio de, was a scholar of
Valdes Leal, who studied in the Academy of
Seville in 1666-7. He imitated the styje of his
master. His best work was in the Convent of
Mercy, and represented ' San Pedro Nolasco cor-
recting the Novices of his Order.'
LlfeONARD, Jean Pierre, a French still-hfe and
historical painter, was born at Montpellier in 1790.
He was a pupil of Gu^rin. Among his works are
'The Baptism of our Lord,' and 'The Baptism of
the Eunuch,' in the Cathedral at Montpellier, and
the ' Death of St. Joseph ' in the church of La
Charite at Nimes.
LEONARDIS, Giacomo, an Italian designer and
etcher, was born at Palma, in the Venetian State,
in 1723, and died after 1780. He was instructed
by M. Benville and G. B. Tiepolo, and obtained
the first prize at the Academy of Venice. He was
skilful in preserving the character of the artist
he represented. He etched several plates after
Italian masters ; among which are the following :
Cupids at Play ; after Giulio Carpioni.
The Triumph of Silenus ; after the same.
Neptune and Thetis ; after Sebastiano Conea. 1765.
The Rape of Europa ; after the same.
Two plates of the Amusements of the Carnival : afterr
Tiepolo,
The Golden Calf ; after Tintoretto.
The Last Judgment ; after the same. 1768.
LEONARDO, Agtjstin, a native of Valencia, is
supposed to have taken the habit of the Order
of Mercy at Xativa. In 1620 he was a brother
of the convent of that order at Puig, near
Valencia, where he painted for the sacristy four
large pictures of the ' Finding of the Image of Our
Lady at Puig ; ' the ' Siege of Valencia,' and its
surrender to King James; and the 'Battle of
Puig,' in which St. George fought for the Christians.
He afterwards visited Seville, where he painted a
picture, dated 1624, of ' Christ and the Woman of
Samaria.' In 1624-5 he was called to Madrid,
where he painted two pictures for the great stair-
case of the Convent of Mercy, which, according
to Cean Bermudez, possessed some merit in draw-
ing and composition, but were harsh in colouring.
He was thought' to excel in portraiture, and
painted a portrait of Gabriel Bocangel, the poet.
Palomino states that he died at Madrid in 1640, but
Cean Bermudez thinks it more probable that he
returned to Valencia, and died there at a later date.
LEONARDO, Jusepb, a Spanish painter of
battles, was a distinguished scholar of Pedro de
Las Cuevas. He was born at Calatayud in Ara-
gon in 1616, and died at Saragossa in 1656, of
poison, supposed to have been administered to liim
by some who were jealous of his merits. He was
painter to the king, and executed for the palace
of Buen Retire works worthy of celebrity; among
them the ' Surrender of Breda,' and the ' March of
the Duke of Feria's Troop upon Acqui,' which are
now in the Madrid Gallery ; the latter is a picture
of large dimensions and great merit. Tliere is also
a portrait of Alaric the Goth, which is one of the
ornaments of the royal collection.
LEONARDO da VINCI. See Vinci.
LEONARDONI, Francisco, was born in 1654 at
Venice, where he studied for some time. Expa-
triated for some unknown cause, he travelled
through various parts of Europe, and settled at
Madrid in 1680. There he distinguished himself
by his portraits, especially miniatures, although he
also painted several pictures for the churches. In
the church of the Convent of Atocha at Madrid, are
two pictures of the ' Marriage and Death of St.
Joseph ; ' and in the church of San Geronimo el
Real, a large altar-piece of the ' Annunciation.' He
died at Madrid in 1711.
LEONART, Johannes Fredrik, a Flemish
etcher and engraver in mezzotint, was born at
Dunkirk about 1633, and died at Berlin in 1680.
He engraved the portraits of Justus van Merstrae-
ten, Syndic of Brussels, and his wife, after Van
Dyck.
LEONBRUNO, Lorenzo, was born at Mantua in
1489. He studied after the works of Mantegna,
attended the school of Lorenzo Costa in 1508, and
visited Rome in 1521. Several of his paintings,
which he executed in the palaces of his native
city, have disappeared. There is by him in the
Berlin Gallery the ' Judgment of Midas.' He died
in 1537, probably at Mantua.
LEONCINI, Feanoesco, was the engraver of a
plate representing the ' Flight into Egypt ; ' it is
etched in the style of a painter, and signed Fran-
cesco Leoncini di S. Geminiano,f. et inv.
LEONE, a Benedictine 'monk, was- probably
a native of Amalfi. He wrote in 1072 the Codex
99, ' Homilise diversse,' at Monte Cassino, which he
illuminated with portraits and scenes from the
Bible in miniature, that might easily be attributed
to Cimabue or Giotto. He is probably identical
with Leo, Cardinal Bishop of Ostia, who was
secretary to Pope Urban IL, and died in 1115.
LEONE, Andrea di, born at Naples in 1596,
was a disciple of Corenzio, II Greco, and Salvator
Rosa. When Corenzio left Naples, Leone became
his successor, and adorned the palace of the Viceroy
43
Leone
A BIOGRAPHICAL DICTIONARY OF
L6iJicil
in that city. He painted tliere several battles,
but afterwards imitated Aniello Falcone in his
works of a smaller size. There are several paint-
ings by him in the cathedral and in San Paolo
Maggiore at Milan. He died at Naples in 1676.
The following also is by him :
Madrid. Oallery. The Wrestling of Jacob with the
Angel.
LEONE, Gabriem. See Van dee Leedw.
LEONELLO, Antonio, was a native of Bologna,
who lived at the end of the 15th century. He
painted chiefly fruits, flowers, and animals.
LEONETTI, Giovanni Battista, was an Italian
engraver, who was working at Rome at the com-
mencement of the 19th century, but who died
before 1830. Among his works are the following :
The Triumph of David ; after Guercino,
Christ on the Cro.,s ; after F. Gessi.
Christ in the Temple among the Doctors ; after
LeoTtardo da Vinci.
LEONI, Gdglielmo da, an Italian painter and
engraver, was born at Parma in 1664. He is
supposed to have been a pupil of Giulio Romano,
but he soon abandoned painting for engraving.
He died about 1740.
LEONI, LoDOVioo, called II Padovanino, was
born at Padua in 1531. He spent most of his life
in Rome, and executed portraits in wax, besides
painting in oil and fresco landscapes and historical
subjects. He died at Rome in 1606.
LEONI, Ottavio, the son and pupil of Lodovioo
Leoni, was born at Rome about 1578. He
was esteemed one of the ablest portrait painters
of his time, and drew the popes, cardinals, and
principal nobility of the period in which he lived.
His talents were not, however, confined to por-
traiture ; for he painted several altar-pieces for the
churches in Rome. In Sant' Eustachio is a picture
by him of the ' Annunciation ' ; in Santa Maria
della Minerva, the 'Virgin and Child, with St.
Hyacinthe ' ; and in Sant' Urbano, ' St. Charles, St.
Francis, and St. Nicholas.' He was made principal
of the Academy of St. Luke, and a knight of the
order of Christ, on which occasion he painted
for the church of the Academy the ' Martyrdom
of St. Martina.' He died at Rome in 1630.
Ottavio Leoni was the engraver of a set of heads
of painters and others, executed in a singular
manner, but producing a very pleasing effect
The hair and draperies are engraved with strokes ;
the faces delicately dotted, with the shadows assisted
with strokes. There are about twenty of the plates,
among which are the following, which are signed,
Mques Ottav. Leonus, Bomanus pictor fecit.
LudovicTis Leonus, Pictor et Sculptor. 1625.
Eques Ottav. Leonus ; se ipse fee. 1625.
Joannes Franciscus Barbieri, Centinus pictor. 1623.
Marcellus Provenzalis, Centensis. 1623.
Eques Christopher. Ronchalis de Pomeranciis, pictor.
1623.
Eques Joseph Csesar Arpinas, pictor. 1621.
Antonius Tempesta, pictor Florentinus. 1621.
Thomas Salinus, Bomauus, pictor. 1625.'
Fr. D. Antonius Barberinus. 1625.
LEONORI, PiETRO Giovanni, was a painter of
the Bolognese school, who about 1400 painted a
' Madonna and Saints ' in the Custom House, and
decorated with frescoes several public buildings.
LEPAGE, FEANgois, a Frencli flower painter,
was born at Lyons in 1796., In 1826 he was
appointed a Professor at the Ecole des Beaux- Arts
at Lyons.
44
LB PASTURE, Rogier db. See Van dek
Wbyden.
LE PAULTRE, Jean, (or Lb Pautrb,) a
French draughtsman and engraver, was born
in Paris in 1618. In the early part of his
life he was placed with a carpenter and builder,
under whom he learned to draw plans and orna-
mental designs. He afterwards turned his atten-
tion to engraving, both with the point and the
graver, and executed some fourteen or fifteen
hundred plates, consisting of architectural decora-
tions, friezes, ceilings, vases, and other ornaments,
which, with the exception of a few prints from
the drawings of Paolo Farinati, are all after bis
own designs. He also engraved several historical
and religious subjects ; but they are inferior to
his other plates. He was made a member of the
Academy at Paris in 1677, and died there in 1682.
His works are usually marked with the initials
I. P. or /. le P. The following are his most
esteemed prints :
PORTRAITS.
Jean Lepautre, with a border of flowers, supported by
Genii. 1674.
Louis XIV., in Roman attire. 1684
Jean Eobert.
VARIOUS SUBJECTS.
Ten plates of the History of'Moses.
Twenty-two plates of Mythological Subjects.
Twelve Landscapes, Views of Gardens and Grottoes.
Six plates of Italian Fountains.
Six of Friezes, Mythological Subjects.
Twelve of Antique Yases.
Six plates of Sea-ports and Vessels.
The Coronation of Louis XIV. in the cathedral at
Eheims ; on three sheets.
The Baptism of the Dauphin.
Two perspective Views of the Canal of Fontainebleau.
LBPICIB, Bernard, a French engraver, was
born in Paris in 1698. He was probably a pupil
of Jean Audran, whose style he adopted with
success. 'He was invited to England by Claude
Du Bosc, to assist him in engraving the cartoons
of Raphael, on a smaller scale than those of
Dorigny ; but his talents ought not to be estimated
from those unfavourable specimens. On his return
to Paris, he engraved several plates, which gained
him great reputation. He was received into the
Academy in 1740, and became its secretary
and historiographer ; and in the latter capacity
he published in 1752 a ' Catalogue raisonni des
Tableaux du Cabinet du Roi,' and 'Les Vies des
Premiers Peintres du Roi, depuis M. Le Brun,
jusqu'a present.' He died in Paris in 1755. The
following are his principal prints :
PORTRAITS.
Nicolas Bertin, painter; after De Lien; engraved for
his reception into the Academy.
Louis de BouUongne, painter ; after Sigaud.
Philibert Orry, Minister of Finance ; after the same. _
Pierre Grassin, Director of the Mint ; after LargilUire.
Charles Capperonnier, Librarian to the King; after
Aved.
Madame Dufresne, actress ; after the same.
Jean Antoine "Watteau, painter ; after himself.
Fran9oise d'Aubign^, Marquise de Maintenon ; after
Migyiard.
Jean Baptists Moliere ; an etching ; after Cliarles Coypl-
SUBJECTS AFTER VARIOUS MASTEES.
The Circumcision ; after Giulio Romano ; for the Crozat
Collection.
Jupiter and lo ; after the same ; for the same.
Jupiter and Juno ; after the same ; for the same. _
St. John preaching in the Wilderness ; qfter Badem;
for the same.
Lepicie
PAINTERS AND ENGRAVERS.
Lerous
Vertumnus and Pomona ; after Rembrandt.
Two Subjects ; after Teniers.
The Chess-players ; after 0. He Moor.
The Players at Piquet ; after G. Netscher.
Town Love and Village Love ; after Charles Coypel.
The Pacha having his Mistress's portrait painted; after
Carle van Loo.
Charles I. taking leave of his Children ; after Eaoux.
L^PIClfi, Nicolas Bernard, tlie son of Bernard
L6pici6, was born in Paris in 1736. He studied
under Carle van Loo, and became painter to the
king, and professor of the Academy. He died in
Paris in 1784. The following are his best paintings :
The Courage of Porcia. (ZiUe Museum.)
Kegulus taking leave of his Family.
LEPICIE, REN:fiB i!1lis4beth, whose maiden
name was MarliS, was born in 1714, and in 1732
became the wife of Bernard Ldpici^. She en-
graved after Raphael, Boucher, Van Loo, Chardin,
Rigaud, and other French painters, and died in
Paris in 1773. The following are two of her prints :
Saying Grace, and the Industrious Mother; a pair;
after Chardin.
The Flemish Cook ; after Teniers.
LE PIPER, Franqois, was the son of a Kentish
gentleman of Flemish extraction, and was born
about the year 1640. His father, who was in pos-
seasion of a considerable estate, gave him a liberal
education, intending him for a merchant, but his
inclination leading him entirely to drawing, he
rambled over great part of Europe to study paint-
ing. He was of a gay and facetious turn of mind,
and the subjects he treated were usually humorous
and comical, and were chiefly painted in black and
white. Most of his performances wei-e produced
over a bottle, and the theatre of his exertions was
the Mitre Tavern at Stock's Market, or the Bell
in Westminster, which were adorned by the pro-
ductions of this jovial artist. He drew landscapes,
which he etched on silver plates for the tobacco-
boxes of his friends. Towards the latter part of
his life his circumstances were sufficiently reduced
to make it necessary for him to think of turning
his talents to some account. Becket employed
him to design his mezzotints, and he drew several
of the heads of the Grand Seigniors, for Sir Paul
Rycaut's ' History of the Turks.' On the death of
his mother, his fortune being re-established, he
launciied again into a course of pleasure, con-
tracted a fever, and being bled by an ignorant
surgeon, who pricked an artery, he died in 1698.
His portrait was drawn in crayons by Faithorne,
and engraved by Lutterel.
LE POITTEVIN, Edmond Modeste Edgenb, a
French landscape and marine painter, whose name
was originally Poidevin, was born in Paris in
1806, and studied under Hersent. He visited
England, the Netherlands, and Italy, and died at
Aiiteuil in 1870. He used the initials L. P. There
are by him :
The Sinking of the Ship ' Le Vengeur.'
Winter in Holland.
A Norman Cottage.
The Fisherman on, the Ice.
The Sea-Baths at Etretat.
Adriaan Brouwer painting a Tavern Child. {Munich
Gallery.)
Kocky Coast near Havre. (South Kensington Museum.)
LE PRINCE, AuGUSTE Xavier, a French genre
painter, was born in Paris in 1799, and studied
after nature and from the works of Albert Cuyp
and Adriaan van de Velde. His village fairs,
carnivals, corps de garde, and a great variety of
other subjects are to be found in some of the best
collections. He exhibited at the Salons of 1819,
1822, and 1824, and died at Nice in 1826. His
' Interieur de son Atelier' was finished by his pupil
Eugene Le Poittevin, and ' L'Antiquaire ' by
Renoux. In the Louvre there are by him ' Em-
barkation of Cattle at Honfleur,' and a view of the
Pass of Susten, Switzerland.
LE PRINCE, Charles Bdouard, Baron de
Crespy, a French genre painter, was born in Paris
in 1784. He was a pupil of David and Madame Le
Brun, and exhibited at the Salon from 1812 to 1850.
LE PRINCE, GnsTAVE, a French landscape
painter, was born in Paris in 1810, and was a
pupil of Xavier and Leopold Le Prince. He died
in 1837. There is by him in the Museum of Douai
a ' View in the Environs of Fontainebleau.'
LE PRINCE, Jean Baptiste, a French painter
and engraver, was horn in 1733 at Metz, where he
learned the rudiments of art. Subsequently he
studied painting under J. M. Vien and Fran9ois
Boucher, and after having acquired some reput-
ation at Paris, went to Russia, where he resided
several years, and visited various parts of that
empire, sketching the different- costumes and the
most remarkable views in the provinces through
which he passed. He returned to Paris with an
extensive collection of drawings, from which he
painted pictures, which were much admired, and
executed several plates, both in etching and
aquatint. He also engraved several fancy sub-
jects and domestic scenes from his own designs.
The number of his plates exceeds 160. He became
an academician in 1765, and died at St. Denis-du-
Port, near Lagny-sur-Marne, in 1781. Among his
best paintings are :
Le Corps de Garde. {Louvre.)
A Bnssiau Baptism.
A Kussian Shepherdess.
A Kussian Peasant's Cottage.
LE PRINCE, Robert L:^opold, a French land-
scape painter, the brother of Anguste Xavier Le
Prince, was born in Paris in 1800, and died at
Chartres in 1847. There are pictures by him in
the Museums of Chartres and Besangon.
LEQUEUTRE, Hippolyte Joseph, a miniature
portrait painter, was born at Dunkirk in 1793. He
was a pupil of the elder Isabey, and exhibited at
the Salon from 1822 to 1863. Among his works
are portraits of the Duke of Bordeaux, Duchess of
Berri, Princess of Nassau, etc.
LERCH, J. M., a German engraver, flourished at
Vienna about the year 1670. He engraved some
of the portraits for Priorato's 'History of the
Emperor Leopold,' 1670 ; and in conjunction with
Hoffman executed a large print, in three sheets, of
the ' Siege of Brandenburg.'
LEROUX, Jean Marie, a French line-engraver,
was born in Paris in 1788, and was a disciple of
David. He died in Paris in 1871. Among his
best plates are :
La Madonna della Soala ; after Correggio.
Leda ; after Leonardo da Vinci.
St. Catharine ; after Raphael.
Thalia ; after the same.
Jeanne d'Aragon ; after Raphael.
St. Theresa ; after Gerard.
The Eendezvous of Bianca Capella ; a.fter L. Duds.
The Flight of Bianca Capella ; after the same.
St. Jerome ; after Domenichino.
Francis I., King of France.; after Titian.
Lafayette ; after Ary Scheffer.
Eouget-Delisle ; after a medallion hy David.
45
Le Roy
A BIOGRAPHICAL DICTIONARY OF
Leslie
La Vierge a TEtoile ; after Pinturlcchio.
La Vierge a I'Aureole ; after Murillo.
La Yierge aux Anges ; after the same.
The Magdalen in the Desert ; after Gennari.
LE ROY, Claude, a French engraver, flourished
in Paris about 1709. He engraved the portraits of
Fleury, Boileau, Bossuet, and Cardinal Dubois, all
after Rigaud. His name is also affixed to the por-
trait of Cardinal de Fleury, engraved after Autreau.
LE ROY, Henry, was an engraver, by whom
there is a set of six plates of butterflies, beetles,
and other insects, etched in a style resembling that
of Hollar, and retouched with the graver. They
are inscribed Renry le Roy fecit 'JE. 72, 1651.
LE ROY, Jacqdes, a French line engraver, was
born in Paris in 1739. There is a portrait by him
of Voltaire, engraved after the death of the latter
in 1778.
LE ROY, Joseph Anne, a Flemish genre painter,
was born at Brussels in 1814. He was the son of
Pierre Frangois Le Roy, the elder, and studied
under his brother and Eugene Verboeokhoven. He
died at Brussels in 1860. His best known work is
' Cavaliers in an Inn Yard.'
LE ROY, PiEREE Feanqois, the elder, a Flemish
animal and battle painter, was boi'n at Namur in
1772. He was the son of the sculptor Le Roy.
He gained various medals, one of which was
awarded for his ' Battle of Waterloo,' which found
an English purchaser. There are several good
examples of bis skill with the etching needle. He
died at Brussels in 1861.
LE ROY, PlERBB FRANgois, the younger, a
Flemish genre painter, the son and pupil of Pierre
Fran9ois Le Roy the elder, was born at Brussels
in 1803. Several works were painted by him in
conjunction with Eugene Verboeokhoven. There
are etchings by him. He died in 1833. Amongst
his pictures are :
Haarlem. Pavilion. The Schoolmaster.
Ghent. Academy. A young Boy preparing Break-
fast.
LE ROYER, Jean and Aubin Olivier, were
brothers, who lived in the middle of the 16th cen-
tury, and were both in the service of Henry II. of
France, the one as a printer, the other as a
medallist. Both were skilful engravers on wood,
and jointly executed the figures for the ' Livre de
Perspective,' by Jean Cousin, printed and published
by Jean Le Royer, in 1560. These geometrical
figures are very beautiful, and consist of about
sixty illustrations. Jean availed himself of his
knowledge of drawing to embellish the works that
he printed ; so that the greater part of the fleurons,
vignettes, and ornamental letters, whether on metal
or on wood, employed in his editions, are his own
work. In 1553 he obtained letters patent, in which
he is designated "Printer in ordinary to the King,
and especially in mathematics." Jean Le Royer
flourished until 1681.
LERPINI^RE, Daniel, though from his name
apparently of French extraction, was born in Eng-
land about 1745, and was a pupil of F. Vivares.
He followed the style of his master, using both
graver and point. He worked in London, where
he died in 1785. He engraved several landscapes,
among which are the following :
A Landscape, with the Flight into Egypt ; after Claude
Lorrain.
The Companion, with St. George and the Dragon ; after
the same.
A Landscape, with the Israelites worshipping the
Golden Calf ; after the same.
46
A Sea-piece, a Oalm ; after Vernet.
The Companion, a Storm ; after the same.
Two Italian Landscapes ; after John Taylor.
Two Landscapes, with Cattle ; after Ouyp.
A Landscape, Evening ; after Pynacker.
Six Views of Sea-fights, &o. ; after R. Paton.
LESCOT-HAUDBBOURG, Hoetbnse Victoire,
_a French genre and portrait painter, was born in
'Paris in 1784. She studied under Lethiere, whom
she followed to Rome, on his appointment as
Director of the French School in that city. Her
works first appeared at the Salon in 1810, and in
1820 she married M. Haudebourg, an architect.
She died in Paris in 1845. Amongst her works
are :
Kissing the Feet of the Statue
of St. Peter. 1812.
Confirmation. 1814.
Besangon. Museum. Portrait of the Architect Paris.
Dijon. Museum. Old Man and Children. 1819.
LESLIE, Charles Robert, a subject painter,
was born in London in 1794, of American
parents, who soon after returned to Philadelphia.
In 1808 he was bound apprentice to a bookseller,
but, desiring to become an artist, in 1811 he sailed
for England, where he entered the schools of
the Royal Academy in 1813, and obtained two
silver medals. Amongst his instructors were
Benjamin West and Washington Allston. His
first picture was ' Saul and the Witch of Endor,'
which was bought by Sir John Leicester, after-
wards Lord De Tabley, for 100 guineas, in 1817.
The same year saw his first exhibited work, ' Mur-
der.' At this period he- produced several historical
works, and he also practised as a portrait painter.
It was not till after a visit to the continent in 1817
that he settled down to the class of works —
humorous genre subjects from the standard
authors — on which his reputation rests. His pro-
gress then was rapid. In 1821 he was elected an
Associate of the Royal Academy, and in 1825 his
prospects were sufficiently assured to admit of his
marrying. In the following year he became a full
member of the Academy. With the exception of
one year, 1833, when he was induced to go to
America as teacher ol: drawing at tlie West Point
Military Academy, the remainder of his life was
spent in England. From 1847 to 1852 he held the
Professorship of Painting in the Royal Academy,
and he published the substance of his lectures as
a ' Handbook for Young Painters.' This was not
his only literary venture. He published in 1845
' Memoirs of Constable,' and his materials for a life
of Reynolds were posthumously brought out by
Tom Taylor, who also edited his autobiography.
He died in London in 1869. The following are
some of his principal works :
Bowood. Marquis of \ Sir Roger de Coverley going to
Zansdowne. j Church.
„ „ Sir Roger de Coverley and the
Gipsies.
„ „ Rebecca in her Dungeon.
Cassiobury. Earl of 1 Don Quixote, the Duchess, and
Essex. } Sancho.
„ „ Don Quixote and Dorothea.
„ „ Portrait of Miss Stephens,
afterwards Countess of Essex.
Eaton Hall. Dukeof),^, „ -n m iom
WestminsJ. j ^^^ Grosvenor Family. 1832.
London. JJuckingliam \ The Queen receiving the Sacra-
Palace. \ ment after the Coronatioa.
J 1843.
„ „ Christening of the Princess
Royal.
,, „ Scene from ' Comus.'
Lessing
PAINTEES AND ENGRAVERS.
Le Sueur
London. Nat. OalUry. My TJncle Toby and 'Widow
Wadman. 1831.
It n Sancho Panza in the Apartment
of the Duchess. 1844.
„ S(mth Kensing- > TJie Taming of the Shrew.
ton Muaemn. J 1832.
„ I, My Uncle Toby and Widow
Wadman. 1832.
„ „ Autolycus. 1836.
„ „ Florizel and Perdita. 1837.
„ „ The Dinner at Mr. Page's House
(' Merry Wives of Windsor ').
1838.
„ „ Who can this be? 1839.
„ ., Who can this be from ? 1839.
„ » Le Bourgeois Gentilhomme.
1841.
„ „ Le Malade Imaginaire. 1843.
„ „ Les Femmes Savantes. 1845.
„ Nat. Port. Gall. Lord Holland.
„ Holland House. The Library at Holhmd House.
Petworth . Lord Lecon- ) Sancho Panza in the Apartment
jUld. / of the Duchess. 1824.
„ J, Catharine and Petruchio.
„ ,, Lady Carlisle carrying the par-
don to her Father in Prison.
„ „ Charles II. at Tillietudlem.
„ „ Gulliver's Introduction to the
Queen of Brobdingnag.
Woburn. Abbey. Lady Jane Grey prevailed on
to accept the Crown. 1827.
LESSING, Kakl Eeiedbich, a German historical
and landscape painter, the grandnephew of the
poet, was born at Breslau in 1808. He was originally
intended for an architect, but, evincing a love of
painting, he received his first instruction from
Eosel and Dahling, at Berlin. In 1827 he went
with Schadow to Diisseldorf, where he speedily
became famous both for his masterly landscapes
and his historic paintings. The latter show a strong
Protestant feeling ; three of his masterpieces being
scenes inspired by the history of Hus, the Re-
former. In 1858 Lessing was appointed Director
of the Gallery of Carlsruhe, a post which he held
till his death in that city in 1880. The following
are his principal works :
Berlin. National Gall. Eitterburg. 1828.
„ „ View in the Eifel Mountains.
1834.
„ „ A Hussite Preaching. 1836.
„ „ A Chapel in a Wood. 1839.
„ „ View on the Havel. 1841.
„ „ Hus at the Funeral Pyre. 1850.
,1 „ Defence of the Pass, 1851.
„ „ Stormy Landscape. 1875.
Carlsruhe. Gallery. Discussion of Luther and Eck
at Leipsic.
Darmstadt. Gallery. Evening Landscape. 1837.
Dresden. Gallery. Landscape in the character of
the ' Teufelsmauer,' near
Blankenburg. 1877.
Diisseldorf. Gallery. Peasants defending a Height.
Frankfort. Stadel Inst. Landscape. 1835.
„ „ Ezzelin IV. in prison after the
Battle of Cassano, 1259.
1836.
„ „ Oaks of a Thousand Years.
1837.
„ „ Landscape. 1839.
„ „ Hus before the Council at
Constance. 1842.
Heltdorf. Castle. Scene from the Life of Bar-
barossa.
Leipsic. Gallery. Convent in Snow. 1828.
LESSOEE, !16mile Adbeet, a French genre
painter, and a native of Paris, was a pupil of
Hersent and of Ingres, and exhibited at the Salon
between 1831 and 1869. He also designed for
the Sfevres manufactory, and afterwards for the
Wedgwoods. He died in 1876.
LE STRANGE, Hamon, an amateur, was born
at Hunstanton Hall, Norfolk, in 1815. As a labour
of love he undertook to paint the nave of Ely
Cathedral, but died suddenly in London in 1862,
after which his work was carried on by Mr. Gambier
Parry.
LE SUEUR, EasTACHE, a French historical
painter, was born of humble parentage in Paris in
1616. Hewas one ofthe many celebrated artists who
received instruction from Vouet, and his progress
was such that he was selected by his master to
assist him in various works. Although he did not
visit Italy, he lost no opportunity of studying the
works of the great Italian masters which found
their way to France. The style of Raphael greatly
attracted him, and the works of his fellow-country-
man, Nicolas Poussin, also had an important
influence in the development of his art. In 1640
he became a member of the guild of master-
painters, and painted for them a -picture of ' Sf.
Paul expelling Evil Spirits at Ephesus.' He quitted
this confraternity, however, on the formation of
the French Academy, of which he was one of the
twelve original members. The position which he
early achieved among French artists rendered him
the chief competitor of Le Brun, when the latter
settled in Paris after his return from Italy. Many
stories of their rivalry are extant, not altogether
to the credit of Le Brun, if they may be trusted.
Le Sueur was much engaged in decorative
works. He was one ofthe numerous band of French
artists who worked at the hotel of the President
Lambert de Thorigny in the He de la Cit6. A^
the Louvre, he decorated the apartments of the
King and of the Queen-Mother. His greatest work
in this line was the series of paintings in the
cloisters of the Chartreuse at Paris, illustrating the
life of St. Bruno, the founder of the order. These
were afterwards sold by the community to Louis
XVI., and are now in the Louvre. So great is the
number of his productions, that, however un-
wearied his industry, he could not possibly have
found time during his short career to execute them
without assistance. This help he obtained from
his brothers, Pierre, Philippe, and Antoine, and
his brother-in-law, Thomas Gouss^. The elder
Patel also is said to have inserted the landscape
backgrounds in his compositions.
Concerning the life of the painter, many tales
have obtained currency. Such are the accounts
of his narrow means, of his melancholy at the
loss of his wife, of his being left childless, and
of his subsequent retreat among the Carthusians,
where he is said to have died. These fictions
have, however, been dispelled by recent research.
He died in Paris in 1655, at the early age of
thirty-eight. For many years his art was not
duly appreciated, owing to its eclipse by the
pretentious works of his rival Le Brun. His
reputation has, however, recovered. He is now
justly considered to hold a place in the front
rank amongst the artists of his country, and he
has sometimes been styled the French Raphael.
This position he owes to his gracefulness, and
freedom from affectation. Another merit is the
originality of his ideas, although founded on the
best traditions of the great masters. The follow-
ing is a list of his works in the chief European
galleries :
Berlin. Gallery. St. Bruno.
Bordeaux. Museum. Urania.
Caen. Museum. Sacrifice of Manoah.
47
Le Sueur
Cherbourg. Museum.
Dijon. Palais de Justice.
Frankfort. Stdchl Inst.
A BIOGRAPHICAL DICTIONABY Of
LetliiSre
Grenoble.
Museum,
Lyons.
Museum.
Marseilles.
Mbutpellier.
Munich.,
Museum.
Museum.
Gallery.
Nantes.
Nimes.
Paris.
Museum.
Museum.
Louvre.
Fetersburg. Hermitage,
Toulouse.
Tours.
Museum.
Museum.
and
Our Lord teaching.
Divine Justice.
The Crucifixion.
Death of St. Bruno.
Thanksgiving of Tobit's
Family.
Martyrdom of St. Gervais
and St. Protais.
Presentation in the Temple.
Tobit's "Wedding Night.
Christ in the House of
Martha.
St. Louis of France at Mass.
The Birth of Aurora.
The Burial of Christ.
The Life of St. Bruno. (22
pictures.)
History of Cupid. (6 pic-
tures.)
The Muses. (5 pictures.)
The Descent from the Cross.
St. Paul preaching at Bphe-
sus.
Moses exposed by his Mother.
Nativity of the Virgin.
The Virgin and St. Anne in
the Temple.
The Presentation-
Death of the Virgin.
Martyrdom of St. Stephen.
Darius Hystaspes at the
Tomb of Nitocris.
Sacrifice of Manoah.
St. Sebastian.
The Mass of St. Martin,
Christ with Martha
Mary.
St. Louis healing the Sick.
Espousal of tlip Virgin.
Death of Cupid.
Joseph and Potiphar's "Wife.
Massacre of the Innocents.
Klnaldo.
0. J. D.
LB SUEUR, Nicolas, the son of Pierre Le Sueur
the younger, was born in Paris in 1690. He ex-
celled as an engraver on wood, and was the most
eminent of his family. He executed, chiefly in
chiaroscuro, several fine cuts for the Crozat Collec-
tion, from the works of the great masters, especi-
ally Goltzius. He also engraved, in a very tasteful
style, the ornaments which embellish the edition
of La Fontaine's Fables, from the designs of
Bachelier. He died in Paris in 1764. Some of his
works are signed N. L. S., others with a monogram.
The following cuts were executed by him for the
Crozat Collection :
Fishermen drawing their Nets ; after Giulio Romano,
The Mass ; after Folidoro da Caravaygio.
The Egyptians overwhelmed in the Eed Sea ; after
G. F. Fenni, called II Fattore.
Christ with the Apostles ; after Raffaello dal Colle.
The Man and the Lion ; after BaZdassare Feruzzi.
The Death of St. Francis Xavier; after Lodovico
Giniignani.
The Descent of the Holy Ghost ; after G. B. Zenardi,
The Annunciation ; after G, Morandi.
The Virgin appearing to St. Philip Neri; after L.
Garzi.
The Virgin on a Throne, surrounded by Saints ; after
F. Fietri,
LE SUEUR, PiEKEE, the elder, a French en-
graver on wood, was born at Kouen in 1636, and
Vienna. Academy.
„ Ziecktenstein Gallery.
„ Czernin Coll.
,, Count Harrach.
was a disciple of Du Bellay. Among other prints,
he executed a woodcut, representing ' Judith,' after
Van Sichera. He generally used a monogram
composed of the letters P. L. S., thus, ^^ . He
died at Rouen in 1716.
48
LE SUEUR, Pierre, the younger, the son of
the elder artist of the same names, was bom at
Rouen in 1669, and was instructed in drawing
and engraving on wood by his father. He
engraved many figures and vignettes, and some
devout subjects and Biblical prints ; and Papillon
mentions an emblematical subject by him, called
' Alpha and Omega,' in which the Christian Religion
is represented by a naked figure, and Idolati-y
concealed by a veil. He died in 1750. He usually
marked his prints with the initials P. L. 8., or a,
monogram composed of the same. Among his
other works were cuts for the following books :
The Fables of ^sop. 1678.
Ozanam's ' Cours de MathSmatiques.' 1693.
Erasmus's ' Eloge de la FoUe.' 1745.
LE SUEUR, Vincent, the brother of Pierre Le
Sueur the younger, was born at Rouen in 1668. After
being instructed in the principles of the art by his
father, he was sent to Paris, where he became a
pupil of Jean Papillon. He distinguished himself
as an engraver on wood, and Papillon mentions as
his best print 'The Soldier's Farewell,' engraved
in 1702. He executed several cuts in chiaroscuro,
among which is ' Mercury and Prometheus,' after
P. Farinato. He marked his prints with the
initials V. L. 8.
LE SUISSE, — , is mentioned by Papillon as an
engraver on wood, who, among other prints, exe-
cuted a large cut, representing the Turkish army
arranged in order of battle, at the bottom of which
is an eulogy in praise of the artist. He is probably
the same as Christoph Slimmer.
LETELLIER, Chaelbs Fkanqois, a French
engraver, was bom in Paris in 1743, and died in
1800. He was a pupil of Franpois Boucher, and
engraved several plates, representing conversations,
&c., after the French and other masters.
LETELLIER, Jean, a French portrait and his-
torical painter, was born at Rouen in 1614. He was
the nephew and pupil of Nicolas Poussin, and owed
much to his teaching. His heads of the Virgin are
full of candour and grace. Later in life he adopted
a more careful finish than his early works display.
He was the master of Jacques Restout, and for a
time painter and secretary to the prior of the abbey
of Moneel, near Vitry, on the Marne. He painted
the ' Death of St. Alexis ' for the church at Grave-
lines, and a ' Holy Family ' and the ' Miracles per-
formed at the Tomb of St. Augustine,' both in the
church dedicated to that saint at Rouen, are works
of great' merit. He died in 1676. Many of his
pictures are at Rouen.
LETH, Hendmk db. See De Leth.
LBTHBRIUGB, Walter Stephens, a miniature
painter, was born at Charlton in Devonshire in
1771. His father was a fanner, who apprenticed
him to a house painter, but he afterwards became
assistant to a travelling artist, and after visiting the
principal cities in England and Scotland, he settled
in London. He then became a student of the
Royal Academy, where he exhibited from 1801
to 1829. In April 1830 he removed from London
to Stonehouse, where he died in 1831. In the
National Portrait Gallery are portraits of Bishop
Horsley and Dr. John Wolcot (' Peter Pindar').
LETHIERE, Gtjillaume Guillon, a French his-
torical painter, was born of Creole parents at Sainte-
Anne, in the island of Guadeloupe, in 1760, hut
came to France wlien young, and received a good
general education. The knowledge of the classics
Letterini
PAINTERS AND ENGRAVERS.
Le Vasseur
he thus obtaiued proved valuable to him in the
phase of French art contemporaneous with the
Revolution. His art training was obtained in the
studio of Doyen. Although he only succeeded in
obtaining the second prize by his version of the
'Canaaaitish Woman 'in 1784, he was by special
favour allowed to proceed to Rome to complete his
studies. After a stay of four years in Italy, he
returned to Paris, and settled down to the practice
of his art. His reputation was first made by the
designs, exhibited in 1795 and 1801, for his 'Vir-
ginius' and ' Brutus.' The actual pictures were not
completed by him until many years after. He had
the good fortune "to find a patron in Lucien Bona-
parte, whom he accompanied on his embassy to
Spain. There he remained two years, selecting
pictures from the Spanish collections to enrich the
French galleries. Subsequently, he succeeded
Suv6e as Director of the French School at Rome,
which office he held for the exceptionally long
period of ten yeai'S, and his authority was wielded
to the great advantage of French art. Returning
to Paris in 1817, he opened a studio, and pupils
flocked to him so rapidly that their numbers
rivalled even those in the studio of Gros. In 1818
he was elected a member of the Institute, and also
became a professor in the Ecole des Beaux-Arts.
He died in Paris in 1832. At one period of his
career, Lethiere's reputation stood so high that he
was considered the rival of the great David ; but in
the rapid rise of the Romantic school, his fame,
like tliat of many other classicists, was quickly
obscured. Amongst his chief works are :
.fflneas aud Dido. 1819.
The Woraau taken in Adultery.
Louis IX. visiting the Plague-
stricken at Carthage.
Death of Virginia. 1828.
Brutus condemning his Son to
death. 1812.
The Magdalen.
The Peace of Leoben. 1805.
O.J.D.
LETTBRINI. See Littebini.
LEU, De. See De Leeuw.
LEULLIER, Louis F^ux, a French landscape
painter, was born in Paris in 1811, and died in
1882. He was a pupil of Baron Gros, and has left
a picture of the ' Inundation of the Loire,' which
is in the Lille Museum.
LEUPBNIUS, J., (or Ledpen,) was a Dutch
landscape painter and engraver, by whom there
are a few slight etchings, retouched with the
graver. They represent views in Holland, and
appear to be the works of a painter. He was a
pupil of Rembrandt, and flourished from about
1660 to 1677, probably at Utrecht.
LEUR, NiooLAUs VAN DEE. See Van der Lehe.
LEUTZE, Emandel, a German historical painter,
was born at the village of Emingen, near Reut-
lingen in Wiirtemberg, in 1816. He went when
a child to Philadelphia, where he was instructed
by John A. Smith, a portrait painter. In 1841
he returned to Europe, and pursued his studies at
Diisseldorf under Lessing ; but as he did not hold
with the views of that Academy, he established an
atelier of his own. In 1842 he visited Munich,
Venice, and Rome, and returned in 1845 to Diissel-
dorf, where he executed a considerable number of
paintings. He obtained in 1850 the gold medal at
Berlin for his ' Washington crossing the Delaware,'
now in the Kunsthalle at Bremen. After having
been in America in 1851, and again in 1859, he
VOL. II. B
Amiens.
Angers.
Bordeaux.
ill
Paris.
Louvre,
Versailles.
St. Sock.
Gallery.
established himself there in 1863, and died at
Washington in 1868. The following is a list of
his chief productions in chronological order :
Hagar and Ishmael.
The Indian gazing at the Setting Sun.
Columbus before the Council of Salamanca. 1841.
(Jrt Union of Diisseldorf.)
The third Eeturn of Columbus from America.
Raleigh taking leave of his "Wife.
Cromwell at the Death-bed of his Daughter.
The Lauding of the Norsemen in America.
John Knox admonishing Mary Stuart.
Ealeigh spreading his Cloak before Queen Elizabeth.
English Iconoclasts.
Torquemada and the Embassy of the Jews.
The Reception of Columbus at Court.
Waiihington crossing the Delaware. 1850. (His chef-
d*osuvre.)
'Washington at the Battle of Monmouth. 1852-54.
The Rose 'of the Alhambra.
Cromwell visiting Milton.
The last Evening of Charles I.
Henry VIII. and Anne Boleyn. 1858.
The Voyagre of the Artist in the Lagunes.
Frederick the Great before his Mother.
The Maid of Saragossa.
Lafayette in Prison.
Elizabeth in Prison.
The first Lauding of Columbus in America.
The first Mass of Mary Stuart in Scotland.
Cromwell searching the State Papers.
The Triumph of the Cross.
Lady Godiva.
The Advance of Civilization to the "West. (Frf^sco in
the Capitol at Wa^hinyton.)
Portraits of President Liucoba, General Grant, 'Washing-
ton, &c.
LEUX, Feanz von. See Ldyx von Luxenstein.
LEVACHEZ, Chaeles FEANgois Gabeiel, was
a French engraver and publisher, who flourished
at the close of the 18th century and the commence-
ment of the 19th, He executed in aquatint the
portraits of the ' Tableaux historiques de la
Revolution Pran9aise,' beneath which are memor-
able scenes by Duplessi-Bertaux. He also engraved
an equestrian portrait of Napoleon I., after Carle
Vernet.
LE VASSEUR, Jean Chaeles, a French line
engraver, was born at Abbeville in 1734. He was a
pupil of Daulie and Beauvarlet, and has engraved
chiefly after the works of the modern French
painters. He became an academician in 1771, and
died in Paris in 1816. Among other prints by him
are the following :
The Triumph of Venus ; after Boucher.
The Death of Adonis ; after the same.
The Continence of Scipio ; after Le Maine.
Diana and Endyraion; after J. B. van Loo. (His
reception work for the Academy.)
Apollo and Daphne ; after Luca Giordano.
The Triumph of Galatea ; after J. F. de Troy.
Diana and Actseon ; after the same.
The Rape of Proserpine ; after the same.
The Parting of Hector and Andromache ; after Restout.
Alexander and his Physician ; after the same.
Tarquin and Lucretia ; after A. Peters.
The Milk-maid ; after J. B. Greuze.
Thais, or the Beautiful Penitent ; after the same.
The Step-Mother ; after the same.
The 'Widow and the Curate ; after the same.
The 'Will destroyed ; after the same.
The Curious Lovers ; after Etienne Auhry.
Paternal Love ; after the same.
Leonardo da Vinci expiring in the arms of Francis I. ;
after Menageot.
Holy Family ; after E. Mengs.
Cardinal de Luynes.
Jean Restout, painter ; after J. B. Uestont.
The Pleasures of the Satyrs ; after Foelenhorch.
49
Levati
A BIOGRAPHICAL DICTIONARY OF
Lewis
LEVATI, Giuseppe, an architectural painter,
was born at Concorezz.o, near Milan, in 1739. He
worked first under a decorator, and afterwards
applied himself to the study of the works of
Barocci, Palladio, Serlio, and especially the per-
spectives of Barbaro and Zanotti. In 1802 he
was elected director of the school of perspective
at Milan. He also executed architectural subjects
and landscapes in pencil, pen-and-ink, and water-
colour. He died in 1828. His chief works are
decorations in the house of the Marquis Litta at
Lainate ; in the residence of Count Borromeo, and
the archducal palace at Milan ; and in the palace
at Monza.
LEVEAU, Jean Jacques Ande^, a French
engraver, was born at Rouen in 1729. He went
■when young to Paris, whei'e he became a pupil of
J. P. Le Bas, in whose style he has engraved several
plates. He died in 1785. Among his works are
the following :
Two Yiews iu Flanders, by mooaligM ; after Van der
JVeer.
Eomau Shepherds ; after Mtttay.
View of Montserrat ; after Vernet.
The Fishermen ; after the same.
La Cuisine ambulant des Matelots ; after the same.
The Cascade of Tivoli ; after La Croix.
View of Pozzuoli ; after the same.
The Village Blacksmith ; after Berchem.
A Landscape, with a Shepherd watching his Flock;
after jRaisdael.
Abraham sending away Hagar ; after Dietrich.
The Shepherdess of the Alps ; after Auhry.
The Dangerous Bncouuter ; after jBaudouin.
The Judge, or the Broken Pitcher; after Debiicmirt.
The Curious Lover ; after Loutherhoury .
The Pet Lamb ; after the same.
LEVECQ, Jakob, (or Lavecq,) a Dutch portrait
painter, was born at Dordrecht about 1624. He
was a pupil of Rembrandt, and a most successful
imitator of his style, for portraits by him have
passed as genuine works of Rembrandt. He visited
France, and afterwards painted in the style of De
Baan. In 1655 he became a member of the artists'
guild in his native town, where he died in 1674.
The Duke of Leinster possesses a ' Portrait of a
Young Man,' Joy him, dated 1654.
LBVEILLE, PiEBRU, a French engraver, was a
native of Orleans, and a pupil of Janinet. His
best plates are ' Le Charlatan ' and ' Le Bascule,'
after Borel, engraved in 1785.
LEVESQUE, PiBREE Chaeles, a French etcher
and writer, was born in Paris in 1736, and died in
1812. He is perhaps better known for his share
in the publication of the ' Dictionnaire des Arts de
Peinture, Sculpture et Gravure,' 1792, begun by
M. Watelet, than by his works as an engraver.
There are, however, several plates by him which
possess considerable merit. Among them are the
following :
POKTEAITS.
Louis Philippeaux, Duke de<>La Vrilliere ; after Van Loo.
Michel Frauijois Sedaine ; after J. L. David.
Jean Causeur, aged 130 years ; after Caffieri.
SUBJECTS AETER VARIOUS MASTERS.
The Conquest of Erigone ; after Deshayes.
Augustus embellishing Rome ; after Saint-AuUn.
Venus and Cupid ; after Pierre. 1770.
Cupid sharpening his arrows ; after Gazes.
Sleeping and 'Waking ; two prints ; after Boucher. 1765.
The Dutch Toilet ; after Metsu.
Lot and his Daughters ; after Diepenbeeck.
Jupiter and Danae ; after De Troy. {Begun iy DaulU,
and finished by Levesque.)
50
LEVIEUX, Renaud, a French painter and etcher,
was born at Nimes, about 1626, and died after
1698. He was the son of a goldsmith, and after
having learned the elements of drawing in his
native city, he studied in Italy. His only etching,
is a ' Ploly Familj-.' Among his paintings, besides
several portraits, are:
Aix. St. Jean de Malte. St. Bruno. 1665.
„ Madeleine. The Visitation.
Nimes. Cathedral. Christ at Emmaus.
Paris. Louvre. The Arrest of John the Baptist.
1685.
LB VILLAIN, GitRAED R^nk, a French line
engraver, was born in Paris in- 1740, and died
there in 1812. His best works are ' La Jeunesse
studieuse ' and ' La Jeunesse laborieuse,' after
Grimoux, and 'Repentir tardif,' after Lavreince.
He also engraved plates for the ' Galerie de
Florence,' ' Galerie du Palais-Royal,' and ' Musee
Franjais.'
LEVRAC TOURNIERES, Robert, a French
historical and portrait painter, was born at Ifs in
Calvados in 1668. He was a pupil of the Carmelite
monk Lucas de La Haye, and of Bon de BouUongne.
In 1702 he was received into the Academy as a
painter of portraits, upon those of Mosnier and
Michel Corneille, now in the Bcole des Beaux-Arts
and at Versailles ; and in 1716 as a painter of
history, his reception work being ' Dibutade
drawing by the light of a lamp the Portrait of
her Lover,' which is now in the Louvre. He died
at Caen in 1752.
LEVYN, Ceuyl, (or Livius,) was bom at Ghent
in 1640. He was an ecclesiastic who visited Rome,
and there designed antique and modem build-
ings, and adorned them with figures, many of
which he etched in a spirited manner. He was
living in 1684. Among his etchings are views of
the Pantheon and of St. Peter's.
LEWIN, William, was an amateur, who in 1789
published, with plates drawn and engraved by
himself, seven quarto volumes of the ' Birds of
Great Britain,' followed in 1795 by the ' Insects of
Great Britain.'
LEWIS, Charles, a still-life painter, was bom
at Gloucester in 1753. In early life he decorated
japanned tea-trays, and then went on the stage.
After a visit to Holland in 1781, he practised his
art, painting birds and fruit, in London and in
Scotland successively. He died at Edinburgh in
1795.
LEWIS, Charles Geoegb, an etcher and en-
graver in line and mezzotint, was born in 1808 at
Enfield, Middlesex. He was the son and pupil
of Frederick Christian Lewis, and a brother of
John Frederick Lewis, R.A. He died in 1880, at
Felpham, near Bognor. Many of his better known
works are after the paintings of Sir Edwin Land-
seer, and the more important of them are included
in the following list :
Hawking in the Olden Time ; after Sir Edioin Landseer.
The Cat's Paw ; after the same.
Islay, Macaw, and Love Birds ; aft&r the same.
Breeze ; after the same.
Shoeing ; after the same.
The Otter Hunt ; after the same.
The Wood-Cutter ; after the same.
The Peregrine Falcon, and the Hawk ; a pair ; after
the same.
Collie Dogs ; after the same.
The Bandom Shot ; after the same.
Sleeping Bloodhound ; after the same.
Hunters at Grass ; after lAe same.
Lewis
PAINl'ERS AND ENGRAVERS.
Iieybold
The Sanctuary ; after the same.
A Grand Hart ; after the same.
The Mothers ; a set of eight etchings ; after the same.
A Cover Hack ; after the same.
The ■Waterloo Banquet ; after J. P. Kniyht.
The Allied Generals before Sebastopol; after T. J.
Barker.
The Melton Breakfast ; after Sir Francis Grant.
Eobinson Crusoe reading the Bible to his man Friday ;
after A. Fraser.
Asking a Blessing ; after the same.
The Village Festival ; after &'ir David Willde.
The Card-Players ; after the same.
Interior of a Highland Cottage ; after J. F. Lewis.
Bay of Spezzia ; after Bonington.
Sea-Shore ; after the same.
Sunset ; after the same.
Picking out the Lambs ; after Ansdell.
Sheep-Shearing ; after the same.
Highland Larder ; after F. Tayler.
Morning in the Highlands ; aftm- Rosa Bonheur.
The Raid ; after the same.
LEWIS, Frederick Christian, an English en-
graver and landscape painter, was born in London
in 1779. His instruction was derived from Stadler,
a German engraver, and in the schools of the
Royal Academy. The first work on which he was
engaged was Ottley's ' Italian School of Design '
(1823), and for some years he engraved in the
stipple manner many of Lawrence's portraits. But
he did not neglect original work, for he sketched
much from nature about Enfield and in Devon-
shire, exhibiting landscapes at the Watei-Colour
Society, the British Institution, and the Royal
Academy. He was engrarer to George IV.,
William IV., and Queen Victoria. He died at
Enfield in 1866. Amongst his best plates are :
The Calmady Children ; after Sir Thomas Lawrence.
Mrs. John Fairlie ; after the same.
■William IV. ; after the same. .
Elizabeth, Duchess of Devonshire ; after the same.
Cardinal Oonsalvi ; after the same.
The Countess of Blessington ; after Sir Edwin Landseer.
Cottage Industry ; after the same.
Queen Victoria ; after Winterhalter.
Market Gardeners ; after Witherington.
The Works of Mercy ; eight plates in aquatint ; after
Flaxm^n.
As specimens of his work with the brush, mention
should be made of :
Three Views of Berry Pomeroy Castle. {Smith Ken-
sington Museum.)
Two Views of Oxford. (The same.)
View on the Tamar. (Oil.) (Wolmm Abbey.)
Budsleigh. (Oil.) (The same.)
Amongst the works he illustrated and engraved
are:
'Picturesque Scenery of the Dart.' 1821.
' Scenery of the Kivers Tamar and Tavy.' 1823.
' The Scenery of the River Exe.' 1827.
Salviati's ' Mondo rovesciato.' 1822.
' Scenery on the Devonshire Rivers.' 1841-43.
' Scenery of the Rivers of England and ■Wales.' 1845-47.
' Liber Studiorum of Claude Lorrain.' 1840.
' Imitations of Sir T. Lawrence's Drawings.' 1840.
LEWIS, George Robert, a portrait, subject,
and landscape painter, was born in London in
1782. He studied in the schools of the Royal
Academy, where he was a pupil of Fuseli. In
1818 he accompanied Dibdin through France and
Germany, furnishing the illustrations for the
'Bibliographical Tour' and the 'Bibliographical
Decameron.' He exhibited at the Royal Academy
from 1820 to 1869, and obtained a good practice
as a portrait painter. He died at Hampstead in
1871. Several works were published by him,
illustrated by himself ; amongst them are :
E 2
' Muscles of the Human Frame.' 1820.
' Illustrations of Kilpeck Church.' 1842.
' Early Fonts of England.' 1843.
' British Forest Trees.'
' Description of Shobdon Church.' 1856.
LEWIS, John Frederick, a painter of Italian,
Spanish, and Oriental subjects, in oil and water-
colours, was born in London in 1805. He was the
eldest son of FrederickChristianLewis,the engraver,
from whom he received his first instruction in art.
His earliest efforts were in animal painting, and he
exhibited at the British Institution from 1820, and
at the Royal Academy from 1821. Devoting him-
self chiefly to water-colours, he became an Associate
of the Old Water-Colour Society in 1827, and a full
member in 1830. In 1832 he went to Spain, and
did not return to England until 1834: this visit
caused a complete change in the current of his
art. The Carlist War furnished him with many
subjects, and he also made a large number of
studies of the works of the great masters, which
were purchased by the Scottish Academy. In
1843 he went to Egypt, and remained several years
in the East. This sojourn turned his attention to
Oriental subjects, which inspired some of his best
works. On his return to England in 1851 he
married, and settled at Walton-on-Thames. In
1855 he succeeded Copley Fielding as President of
the Society of Painters in Water-Colours, but did
not long hold the office. He resumed oil-painting,
and was elected an Associate of the Royal Academy
in 1859, and an Academician in 1865. He died at
Walton-on-Thames in 1876. Amongst his chief
works are :
WATER-COLOnE DRAWINGS.
Monks preaching at Seville. 1835.
A Bull-Fight at Seville. 1836.
A Christino Spy. 1837.
Easter Day at Rome. 1841.
Interior of a Hareem. 1851.
Halt in the Desert. 1853. (South Kensington Museum..)
A Frank Bncaaipment ia the Desert of Mount Sinai.
1856.
OIL PAINTINGS.
The Greeting in the Desert, Egypt. 1856.
A Kibab Shop, Scutari. 1858. ,
■Waiting for the Ferry-Boat, Upper Egypt. 1859.
A Bedouin Sheikh. 186i:
Door of a Caf6 at Cairo. 1866. (Soyal Academy.)
The Prayer of Faith shall save the Sick. 1872.
LEWIS, William, an amateur landscape painter,
and brother of Frederick Christian Lewis, exhibited
at the Royal Academy from 1815 to 1838. There
is a ' View of Raby Castle ' by him in the South
Kensington Museum.
LEXMOND, Jan van, was born at Dordrecht in
1769, and was a pupil of A. and J. van Strey. He
executed some views of towns, though he was
mostly employed as a teacher. He died at Dor-
drecht in 1838.
LEYBOLD, Johann Friedrioh, an engraver and
miniature painter, was born at Stuttgart in 1755.
He was instructed in design by the court sculptor
Bauer, and began to paint at the Karlsschule under
Guibal in 1772, and to engrave under G. von Miiller
in 1776. He went to Coburg in 1797, and to
Vienna in 1798, where he brought himself into
notice by his miniature paintings. He died at
Vienna in 1838. His best plates are :
The Death of Mark Anthony ; after Fiti.
The Death of Papirius ; after Hetsch.
Two plates for Lucan's ' Pharsalia ' ; after Wachter.
Several plates after Fuger's designs for Klopstock's
* MpRRiah '
51
Leybold
A BIOGRAPHICAL DICTIONARY OF
Liano
LEYBOLD, Kael Jakob Theodor, the son of
Johann F. Leybold, was born at Stuttgart in 1786,
and studied under Wiioliter at the Academy at
Vienna. He was in Rome from 1807 to 1815,
after which he returned to Vienna, and in 1821
went to Stuttgart, where he became in 1829 a
professor in the Academy, and in 1842 Inspector
of the Gallery. He died at Stuttgart in 1844. He
distinguished himself as a painter of history and
portraits. His best works are :
Heinrich von Cotta.
Johann Heinrich von Dannecker, the sculptor.
William, King of "Wiirtemberg, and his Consort,Pauline.
Sophia, Queen of the Netherlands.
The Beneficence of Cimon (in oil).
Charon, from a modern Greek myth. (A design.)
LEYDBN, Ghekabd van. See Zyl.
LBYDEN, Lucas van. See Jacobsz.
LEYENDECKER, Mathias, a French portrait
painter, was born at Dernau in Rhenish Prussia in
1822. He studied under Drolling and Winterhalter,
and died in 1871. ' Quail and Larks ' by him is in
the Luxembourg Gallery.
LEYS, Jean Auguste Henei, Baron, a Belgian
historical and genre painter, was born at Antwerp in
1814. He studied in the Academy of that city, and
under his brother-in-law, Ferdinand De Braekeleer.
His works were first exhibited in 1833 at Brussels,
and he rapidly acquired a reputation ; the subjects
which he chose — scenes from the mediaeval history
and customs of his country— contributing much to
the popularity of his works. In 1862 he was
created a Baron. His latter years were much
occupied in the execution of decorations for the
Hotel-de-Ville at Antwerp, where he painted a
S3ries of pictures illustrating the history of the
city. He died in 1869, and a statue has been
erected in his honour in the park at Antwerp,
Alma Tadema was one of his pupils. Amongst
his works are :
Amsterdam. Fare &r) Lady in satin and Man read-
Hoop Mus. j ing.
Antwerp. Academy. Kubens at a F^te of the Arque-
busiers.
Berlin. Gallery. Eeligious Service in Holland,
17th century.
„ „ Dutch Society in the 17th cen-
tury.
„ „ Diirer painting Erasmus.
Brussels. Gallery. Studio of Frans Floris.
„ „ Entry of Charles V. into Ant-
werp.
„ „ Mass for Bertall de Haze.
„ „ Rich and Poor.
„ „ Ke-opening of Antwerp Cathe-
dral.
Frankfort. Stadel Inst. Interior of an Inn Yard. 1842.
London. South Kensing- 1 ^j^^ knight's Funeral.
ton Museum. J "
Munich. JVeio Pinakothek. A Street in a Dutch Village.
1841.
"Windsor. Castle. The Armourer.
LEYSEBETTEN, Pietee van. See Lisebbtten.
LEYSSENS, NiooLAAS, called Cassenoix, was
born at Antwerp in 1661, and was a scholar of
Pieter Ykens. On leaving that master, he went
to Rome, where he passed some time, and would
have prolonged his studies in that metropolis of
art, had he not been under the necessity of return-
ing to his native city for the purpose of succouring
an aged parent in his last illness. Leyssens had
acquired in Italy a correct and tasteful design, and
was much employed in ornamenting the saloons
and ceilings of the principal mansions at Antwerp,
in which he was assisted by Bosohaert, Verbruggen,
52
&c. who painted the flowers and other accessories.
For what reason his surname was given to him is
not stated ; it will bear the interpi-etation of a nut
cracker, a magpie, or a blackbird. He died in 1710.
LEYTO, Andees, a painter of historical subjects
and interiors, resided at Madrid in 1680. He
painted, in conjunction with Josef de Sarabia, the
pictures of the cloister of the convent of San
Francisco at Segovia ; but his chief excellence lay
in painting interiors, in which he had few equals
among the Spanish artists of his time.
LEYVA, Diego de, was bom about 1580, at
Haro, in Old Castile. He is supposed to have spent
his youth at Rome, whence he returned to Spain a
painter, and settled at Burgos. In 1628 he was
commissioned by the Chapter of Burgos to paint
the portraits of certain dignitaries for the chapel
of St. Catalina in the cathedral, and for the chapel
of the Virgin he painted a picture of the ' Present-
ation.' In 1633 he retired to the Chartreuse of
Miraflores, where in 1634 he took the final vows,
and devoted himself to the performance of his
duties, and the production of religious pictures,
among which were fifteen large compositions on
the life of St. Bruno, eleven martyrdoms, ten
pictures of Saints of the Order, a Crucifixion, and
some pictures of the Virgin. His style was some-
what weak. He died at Miraflores in 1637.
LEZIER, Paul, a native of Dordrecht, who
flourished in the i7th century, and was a contem-
porary of Cuyp, was the painter of a large picture
representing the principal citizens of Dordrecht.
LHERIE, Feedinand, an engraver, was a native
of Paris, who went to Antwerp about 1831, and
became a pupil of Baron Wappers, after whom
alone he engraved. He died insane, as did his
brother, who was an actor. The following plates
after Wappers are by bim :
H61oise and Ab^lard.
Agn^s Sore! reproaching Charles Til.
The Defence of Tournai by the Countess of Epernay.
The Entombment.
Devotion of the Burgomaster Van der Werff.
L'HOMME, Jacques, an historical and landscape
painter, born at Troyes at the commencement
of the 17th century, was a pupil of Vouet at
Rome. He painted a ' St. Catharine ' and a ' Lady
playing the. Lute ' ; the latter he also etched.
L'HORFELIN, Antonio, a Spanish painter, was
born at Saragossa in 1687. He was the son of an
obscure artist, named Pedro L'Horfelin, who sent
him to Rome for improvement when he was very
young, and he there studied the works of Michel-
angelo and Raphael. His principal work is a
picture of ' St. Joseph,' with two laterals, in the
church of the Bare-footed Augustines at Saragossa.
He die(i in 1660.
LI A NO, Felipe de, a Spanish portrait painter
and etcher, was born at Madrid in 1556, and
was a scholar of Alonso Sanchez CoeUo. He
is supposed to have resided in Italy, where he
executed the plates signed Teodor. FUippo da
Liagno. He particularly excelled in painting
portraits of a small size, which he executed with
such fidelity of resemblance and beauty of colour-
ing that he acquired the title of 'El Titiano
Pequeno,' or simply ' Bl Pequeno.' He died at
Madrid in 1625. His most esteemed portrait is
that of Don Alvaro de Bazan, Marquis of Santa
Cruz, which was painted for the Emperor Rudolph
in 1584. His best etchings are 'St. John the
Baptist in the Wilderness,' a set of twelve plates
Iiiano
PAINTERS AND ENGRAVERS.
Liberi
of Soldiers and Moors, 'The Nymph surprised,'
'The Nymph and the Satyr,' and fifteen plates of
the skeletons of animals. He signed his works
F. ; Felippo Lia, f. ; and as above.
LIANO d'ANGELI, Filippo de. See Angeli.
LIART, Matthew, was born in London, of
French descent, in 17.36, and studied under Ravenet,
as well as with the Society of Artists, and in the
schools of the Royal Academy, in the latter of
which he gained the silver medal. He was em-
ployed in engraving some plates for Boydell's
collection._ He died about 1782. Among others,
the following prints are by him :
The Sacrifice of Noah; after Andrea Sacchi.
The Convention between Jacob and Laban ; after Fietro
da Cortona.
The Jovial Companions ; after Ostade.
Venus lamenting the Death of Adonis ; after West.
Oephalus and Procris ; after the same.
LIBERAL, Geoeg, was a German painter and
wood engraver, probably of Meissen, who flourished
about 1660, and in conjunction with Wolfgang
Miererpeck executed the large cuts of the animals
and plants for Mattioli's ' Commentaries on Diosco-
rides,' published at Venice in 1565.
LIBERALE, who is described as the son of
'Magistri Jaoobi a Blado de S. Joanne in Valle,'
and who was commonly called ' Liberale de
Jacomo da Verona,' in that city's account-books,
was bom there in 1451, and brought up as a
miniaturist. He was a disciple of Vincenzo di
Stefano, and his first works were performed at the
chapel of the Monte della Pietk in the church of
San Bernardino, where he painted a ' Deposition
from the Cross.' In the church of Sant' Anastasia
is a picture of the ' Dead Christ.' He left Verona
when he was eighteen, and worked for the Bene-
dictines of Mont' Oliveto, near Siena, painting in
miniature and illuminating books, and was after-
wards employed in the cathedral of that city.
His miniatures are considered masterpieces of art,
and his paintings, after the style of Bellini, only
too clearly show the effect of his early training.
In the cathedral of Verona is an ' Adoration of.
the Magi' by him; and in the arohiepiscopal
palace is a predella containing ' The Nativity,' ' The
Epiphany,' and ' The Death of the Virgin,' painted
by Liberale between the years 1480 and 1490. In
the Casa Scotti, Milan, is a ' Madonna' by him that
was formerly assigned to Andrea Mantegna. The
churches of San Fermo, Santa Maria del Paradiso,
and the chapel of Comune alia Vittoria, Verona,
all possess panels with saints by this artist. In
the Brera, Milan, is a ' St. Sebastian,' of which the
Berlin Gallery possesses the replica ; the last-
named gallery also possesses a 'Virgin and Child
enthroned, between SS. Lawrence and Christopher,
dated 1489. The Gallery of Verona has a ' Holy
Family ' and an ' Adoration of the Shepherds ' by
this master. He was an umpire in the Municipal
Council of Verona in 1493. He died in 1536, and
was buried in San Giovanni in Valle, a suburb of
Verona. The following are some of his chief works :
Assiei. Frescoes and Altar-pieces.
Berlin. Gallery. St. Sebastian. {A replica of the
picture in the Brera Gallery.)
Bologna, Gallery. The Annunciation ; Virgin,
Child, and Saints ; painted
on the two fronts. 1482.
Foligno. Museum. Frescoes and numerous Altar-
pieces.
Milan. Brera. St. Sebastian. I
Paris.
Zomre. Predella in three compartments,
comprising — Christ in the
Garden ; the Flagellation ;
the Way to Calvary ; the
Crucifixion ; Nicodemus and
Joseph of Arimathea; Two
Angels, holding a cartel with
the names of the Donatrix
and the Artist.
Perugia. Gallery. The Annunciation.
1, ,, Frescoes and Altar-pieces.
Borne. Vatican, Coronation of the Virgin.
„ Spada Falace. The Virgin rescuing an Infant.
LIBERALE, Gennesio, (or Gensio,) a painter
of the Venetian school, was born at Udine, and
flourished in the second half of the 16th century.
He was a pupil of Pellegrino da San Danielle, and
painted animals and fish.
LIBERATORE, Niocol6 di, called in error
by Vasari, Niccol6 Alunno, was a native of
Foligno, and was born about the year 1430. His
earliest work still ^tant, dated 1458, is in tlie
Franciscan church of La Diruta, near Perugia,
He signed his pictures Nicolaus Fulginates. A
'Madonna enthroned,' painted in 1465, is in the
Brera, Milan. There is an altar-piece representing
the 'Annunciation,' dated 1466, in Santa Maria
Nuova at Perugia. There are also altar-pieces
by him in the Castle of San Severino and in San
Francesco at Gualdo. A 'Pieta,' of which frag-
ments only remain, in the cathedral of Assisi,
was one of his best works. Vasari says of two
angels represented as weeping in this ' Pieta,' that
their emotion was so naturally expressed that no
painter in Italy at that time could have painted
them better. In 1499 he painted the altar-piece
of Sant' Angelo, in La Bastia, near Perugia. Over
a side-altar in the church of San Nicoolo at Foligno-
is a picture of ' St. Nicholas and the Infant Christ,'
painted in 1492. It was one of the many paintings
which were sent to Paris, and when it went back
it was without its predella, which is still in the
Louvre. An ' Ecce Homo ' in the National Gallery
is given in the catalogue to Niccolo ; but Mr. J. A.
Crowe thinks it is probably by Matteo da Siena.
Niccolo died, a rich man, in 1502 ; and was buried
in Sant' Agostino, in his native town. He exe-
cuted his pictures in tempera, and excelled espe-
cially in rendering the expression of the face ; he
also painted standards, called 'Gonfaloni,' which
were used in religious ceremonies ; there is still a
gonf alone by him in Santa Maria Nuova at Perugia,
which bears the following inscription : " Societas
Annunciata fecit fieri hoc opus 1466." He is
supposed by Mariotti to have been the master of
Pietro Perugino, Pinturicchio, and Andrea di Luigi.
A very interesting memoir concerning this painter
has been written by Professor Adamo Rossi, of
Perugia, and printed in the ' Giomale d'Erudizione
Artistica ' for 1872.
LIBERI, Marco, the son of Pietro Liberi, was
born at Padua about the year 1640, and was edu-
cated under his father, whose style he imitated
with little claim to originality. He copied his
father's works almost to illusion, and painted easel
pictures of fabulous subjects, some of which are in
the Palazzo Ercolani, at Bologna. He died after
1687. In the Dresden Gallery is ' Venus caressing
Cupid,' and 'Venus and Cupid smelling a Flower.'
LIBERI, Pietro, called Libeetino, was born at
Padua in 1605. He was a scholar of Alessandro
Varotari, and is considered one of the ablest de-
signers of the Venetian school. His studies at
53
Libour
A BIOGRAPHICAL DICTIONARY OP
Licinio
Rome, after Raphael and Miohelangelo, at Parma,
after Correggio and Parmigiano, as well as after tlie
most distinguished of the Venetian painters, led
him to a style which may be said to partake of
every school. Few artists have discovered a greater
variety of character in their works than Pietro
Liberi. He was used to say, that when employed
for the intelligent, his pencil was frank and expe-
ditious, without the appearance of labour or finish;'
but when working for the less experienced, his
pictures were painted with the utmost minuteness,
in which every object, even to each hair, was pre-
cisely attended to. In his works for the churches
he exhibits a grandeur which is not to be found in
his other productions. Such are the 'Murder of
■the Innocents,' at Venice ; ' Noah leaving the Ark,'
and the ' Destruction of Pharoah' s Host,' at Vioenza;
and the 'Deluge,' and 'Moses striking the Rock,'
at Bergamo. He was more employed in subjects
of the fable, which he treated with elegance and
grace, in the style of Titian j'but sometimes with
a freedom which procured him the title of ' Liber-
tino.' He died at Venice in 1687. He signed his
works P.L., or with a monogram. His chief
works are as follow :
Bergamo.
Dresdeu.
8. Maria
Ma(jgiore.
Gallery.
Petersburg. Hermitage.
» »
Venice, Palace.
„ Academy.
„ San Fietro.
„ S. Maria delta
Salute,
„ San Ste/ano.
„ Madonna del
Carmine.
„ San Moise.
„ SS. Giovanni e
Paolo.
„ San Giovanni
Evangelista.
Vicenza. Cathedral,
\ Marriage of St. Catharine.
Judgment of Pans.
Youth under the Shield of
■Wisdom.
Diana and Callisto.
The Graces and the Loves.
Battle of the Dardanelles.
An Allegory.
The Plague of Serpents.
J Venice imploring St. Anthony.
The Trinity.
I St. Theresa.
The Invention of the Cross.
> Christ on the Cross.
St. John writmg the Apoca-
lypse.
Sacrifice of Noah.
LIBOUR, EsPKiT AimS, an historical and portrait
painter, was born at Laval in 1785. He went
to Paris and became a pupil of David, Regnault,
and Gros. In 1805 he received a first prize for
his ' Arab dying in the Wilderness.' Among his
other works were ' The Death of Abel,' ' Cephalus
and Procris,' and ' Venus in the Water. '
LIBRI, Dai. See Dai Libei.
LICALDE, Juan de, was a scholar of Pedro de
Las Cuevas, who displayed considerable ability,
but died young. One of his drawings, ' A Crowned
Lion upholding a Shield of the Arms of Spain and
Portugal,' neatly executed with the pen, was seen
by Cean Bermudez in the collection of Don Pedro
Gonzalez de Sepulveda. It bore the signature
Juan de lAcalde en el amor de Bios li 10 Novem-
hre de 1628, which places his death after that year.
He made a clever pen-and-ink portrait of the Duke
of Olivarez, Philip IV.'s minister.
LIOHERIE, Louis, was born at Houdan (Seine-
et-Oise) in 1629, and was instructed by the elder
Louis de Boullongne, He was employed by Le
Brun from 1666 to 1670 as a teacher at the
Gobelins, and in 1679 became a member of the
Academy, presenting ' David and Abigail ' (now
in the Louvre) as his reception picture. Other
paintings by him are in the churches of the Invalides
and St. Germain I'Auxerrois at Paris. He died in
Paris in 1687.
64
LICHT, Ferdinand, a German painter, was bom
in 1750 at Troppau in Silesia. He was instructed
by Joseph Burkart,and painted portraits as well
as altar-pieces, of which there are two in the church
of Obrowitz. He died at Briinn, but in what year
is not recorded.
LICHTBNREITER, Feanz, was bom at Passau
in 1700. He went to Italy and studied at Venice
under Vincentini. After some years he returned
to Germany and settled in Prague, painting por-
traits and historical pieces. He died in 1775.
LICHTENSTECHER, Geoeg, a German en-
graver, was born at Nuremberg in 1700. He
executed several portraits and anatomical engrav-
ings. He died about 1780. Among his works
are :
Cattarina Comaro, Queen of Cyprus ; after Titian.
Portrait of H. von Behaim.
Portrait of the Artist ; after C. B. Miiller.
LICINIO, Bernardino, was a distant relation of
Pordenone, who flourished in the 16th century. He
received his early education in Friuli, and after-
wards resided in Venice. Of his birth and death
nothing certain is known. His pictures have been
frequently confounded with those of Pordenone,
and chiefly consist of portraits and family groups,
the earliest known being dated 1624, and the latest
1541. His finest religious composition is the altar-
piece of the Frari at Venice, representing the
' Virgin and Child enthroned between Saints.' The
following are his principal paintings :
Alnwick. Castle. The Artist and his Pupil.
Brescia. Cathedral. Holy Family. (Attributed to
Giorgione.)
Florence. Vffi^i. Virgin and Child, with St.
Francis.
Holy Family. {Attributed to
Polidoro da Caravaggio.)
A Family Group of Ten Per-
sons. 1524.
ladies playing the Spinet.
Venus and Cupid..* {Attributed
to Giorgione.)
A Man's Portrait. 1528.
Virgin and Child, with St.
John and St. Jerome.
Adoration of the Magi.
Portraits of a Family.
A Family Portrait. 1524.
Herodias. {Attributed to Gior-
gione.)
The Virgin and Child, with
Saints. {His best work.)
Ottavio Grimani. 1541.
Genoa. Balhi-Piovera \
Palace. j
Hampton Court. Palace.
Hanover. Hausmann \
Collection. J
London. Mr. Perkins.
„ Sir Ivor Guest.
Petersburg. Hermitage.
» )»
Borne. Borghese Palace.
„ Sciarra Palace.
Venice. _;;^ Frari.
Vienna. Gallery.
"LICINIO, Giovanni Antonio, (or CnTicBLLO,)
called Pordenone, from the name of his native
town, twenty-eight miles from TJdine, was born in
1483. He assumed various surnames, and was
called at one time ' Licinio,' at another time
'Regillo,' but more often 'Pordenone,' and with
this name he signed many of his works. His father
was a builder or architect living in Pordenone,
named Angelo di Bartolommeo de Lodesanis, and
also ' de Corticellis,' from the name of his father's
birthplace, as well as ' Sacchiensis,' or ' de Sacchis.'
Pordenone received a liberal education, and is said
to have been a pupil of Pellegrino da San Danielle
at Udine. Ridolfi relates that Giovanni's first
commission was given to him by a shopkeeper of
Pordenone, and that its subject was a 'Madonna,'
which the artist began and finished in the time
that his patron heard mass. Vasari states that
Pordenone was driven for some years from his
home by an epidemic, and that he employed this
Licinio
PAINTERS AND ENGRAVERS.
Liefriuck
tiitie in decorating' the surrounding village churohea.
In the church of Vacile, fifteen miles from Porde-
none, are a series of mural designs which may be
his workmanship ; at CoLitto, near to Conegliano,
there is a chapel dedicated to San Salvatore, which
is decorated with frescoes representing the ' An-
nunciation,'the ' Epiphany,' the ' Plight into Egypt,'
the 'Meeting of Jesus and Martha,' the 'Raising
of Lazarus,' the 'Last Judgment,' the Evangelists,
Prophets, and Angels, painted by him in the early
part of the 16th century. Of this period in his
life is the ' Madonna and Saints ' of the church of
Susigana. In 1513 he again returned to Pordenone
and married his second wife, Elisabetta Quagliata.
In 1514 he painted ' The Glory of St. Anthony,
with attendant Saints,' in Sant' Antonio of Cone-
gliano ; and also adorned with frescoes the church
of Sant' Odorico of Villanuova. In 1515 he pro-
duced the ' Virgin of Mercy, with SS. Joseph and
Christopher,' in the Cathedral of Pordenone. In
1516 he contracted to paint the frescoes which
formerly adorned the church of Rorai Grande.
He next went to Travesio, where he painted a ' St.
Christopher ' on the f aqade of the church, and thence
to Udine, where he completed a ' Virgin and Child '
on the Loggia of the Town Hall. In 1519-20
Pordenone executed the frescoes in the Malchiostro
chapel in San Niccol6 of Treviso, for which Titian
painted the altar-piece. The frescoes represent
the ' Eternal in Benediction,' the ' Epiphany,' the
' Visitation,' and figures of St. Liherale and other
Saints, Doctors of the Church, and Angels. In
1520 he went to Mantua, where he covered the
fagade of the Ceresara palace with rriythological
subjects ; from thence he journeyed to Cremona,
where the authorities of the cathedral contracted
with him to paint the frescoes of ' Pilate delivering
up Christ,' the ' Procession to Calvary,' the ' Pre-
paration for the Crucifixion,' and the ' Crucifixion.'
During a second visit paid to Cremona in 1522 he
finished that series by the ' Deposition,' and also
executed the altar-piece in the Schizzi Chapel in
the Cathedral, representing the ' Virgin and Child,
between SS. Paul and Dominick.' In 1624 he went
to Spilimbergo, and executed a series of distempers
for the organ of the church of Santa Maria, repre-
senting the ' Assumption,' the ' Pall of Simon
Magus,' and the ' Conversion of St. Paul ' ; he
also painted five panels for the well of the same
organ, and an altar-piece for the church that is
now lost. From 1625 to 1527 he completed a
great quantity of pictures and frescoes for the
churches of 'Travesio, and in the adjoining towns
and villages of Galeriano, Blessano, Casarsa, Udine,
and Valvasons. The frescoes in the cathedral "of
Travesio cover the entire octagon of the choir, and
include seven scenes from the life of St. Peter,
seven subjects drawn from Old Testament history,
the ' Conversion and Martyrdom of St. Paul,' the
' Epiphany,' the ' Last Supper,' the ' Entombment,'
and 'Christ in Glory.' In 1528 Pordenone went
to Venice, where he decorated the tribune of
the church of San Rocco with frescoes which have
now disappeared, and also designed two colossal
panels of SS. Christopher and Martin, which are
still remaining. In 1629 he was again in Porde-
none, and from there went to Piacenza, where he
decorated two chapels in the church of the Madonna
di Campagna with frescoes drawn fi-om the lives
of the Virgin and St. Catharine. His next journey
was to Genoa, where he went by invitation of
Andrea Doria, and embellished his palace with
allegorical designs which are now lost. About
1534-5 were finished the altar-pieces of the 'Trinity '
for the cathedral of San Daniele, and the ' Glory
of St. Mark ' for the cathedral of Pordenone. In
1535 Pordenone received the patent of knighthood
from King John of Hungary, and thenceforward
took the name of ' Regillo.' Soon afterwards he
settled at Venice, where he decorated the house of
Martino d'Anna, the palaces of the Moeenigos
and the Morosinis, the brotherhood of San Francesco
de' Frari, and the cloisters of San Stefano with
frescoes, which gained for him such renown that
he received from the Council of Ten the order to
finish the decorations and ceiling of the Sala del
Scrutinio, which he completed by 1538. His work
here was so much approved that in 1537 the
Council deprived Titian of his patent in the Pon-
daco de' Tedeschi, and ordered of Regillo in 1538
a picture for the Sala del Senate. All these last-
named works have perished. In that same year
he left Venice to pay a visit to Ercole, second
Duke of Perrara, for whom he had already designed
subjects drawn from the Odyssey, for embroidery
in arras. He' arrived there in the month of Decem-
ber, and before he had been there many days, was
taken sick (some accounts state he was poisoned),
and died at the Angel Inn, Perrara, in his 66th
year, in January 1639, and was buried in the church
of San Paolo in that city. Authentic pictures by
this artist are very scarce, many of those under his
name in public and private collections being by
his pupils and imitators. Some authentic examples
may be found in the different collections in Venice.
Especially worthy of mention are the following :
Edinburgh. Nat. GdUery. Christ on the Mount of Olives.
Florence. Uffizi. Portrait of the Artist.
„ „ A Portrait.
„ „ The Conversion of St. Paul.
London. Nat. Gallery. An Apostle.
„ Earl of North- \ Portrait of a Man, half-length,
brook. ) life-size.
Petersburg. Hermitage, An Old Man and a Girl.
Kome. Doria Palace. The Daughter of Herodias with
her Maid.
Venice. ^rafJemy. The Glory of St. Lorenzo
Ginstiniani.
„ „ The Virgin of Mercy, with B.
Simon Stock, and B. Angelo.
LICINIO, Giovanni Antonio, the younger, called
II SACcpiENSB, was a brother of Giulio Licinio, and
a nephew and pupil of Pordenone. He was born
about 1515, and died at Como about 1576.
LICINIO, GlULio, of Pordenone, is said to have
been the nephew of Pordenone, and to have been
at Rome during some period in his life. Records
remain to prove that he was in Augsburg as late
as 1561, and he is thought to have died there.
In the Philippinewelser Strasse, Augsburg, can be
seen the remains of frescoes, representing ' Pluto,
Venus, and Janus,' that are assigned to him.
LIEBE, Christian Gottlieb August, was an
engraver of Leipsic, who worked under Oeser, and
died about 1810. Among his plates are :
The Holy Family ; after Gmdo Meni.
An Assembly of Monks ; after the same.
Juno and Argus ; after Jordaens.
The Tavern ; after Annibale Carracci.
Portrait of Zollikof er ; after Sause.
LIEFRINCK, C, who flourished at Amsterdam
about 1620-40, was a painter and designer. There
are two etchings by him, a very rich frieze, repre-
senting an ' Expedition of Soldiers and Baggage-
waggons,' and a battle piece.
56
Liemaker
A BIOGRAPHICAL DICTIONARY OF
Lignon
LIEMAKER, Nicolaes de. See De Liemaker.
LIBNARD, Edouard, a French historical and
portrait painter, was born in Paris in 1779. He
was the son of Jean Baptiste Li^nard, and was
originally intended for an engraver, but preferring
painting, he studied under Regnault and afterwards
under Isabey. Settling at Lille, he became in 1823
a professor in the Academy there. He painted a
great number of portraits in the style of David,
and also miniatures. He died at Lille in 1848.
The Museum at Rheims has by him 'The Oath
of Allegiance of the Inhabitants of Rheims,' and
that at Lille has some of his portraits.
LIBNARD, Jean Baptists, a French engraver,
was born at Lisle about the year 1760. He was a
pupil of Jacques Philippe Le Bas, and has engraved,
in a neat style, several views and landscapes. He
executed some of the plates for the 'Voyage
pittoresque du Royaume de Naples et de Sicile,'
by the Abb^ de St. Non, and the 'Voyage pittor-
esque de la Suisse.' He died after 1807. The
following engravings also are by him :
The Pleasures of Summer ; after J. B. Le Prince.
Views of the principal Monuments of Borne; after
S. Molert.
Three plates in the first edition of Beaumarchais's
' La FoUe Journfe, ou le Mariage de Figaro,' Paris,
1785. '
LIBNDER, Paulus van, a Dutch engraver, bom
at Utrecht in 1731, was a brother of Pieter van
Liender. His uncle Jakob sent him to Amsterdam
to learn drawing, and he afterwards painted flowers,
landscapes, and views. He also executed some
etchings. He died at Utrecht in 1797.
LIENDER, PlETEB van, a Dutch landscape
painter, was born at Utrecht in 1727. Many of
his subjects are views of cities, and scenes on the
borders of the Rhine. He died at Utrecht in 1779.
LIENDO, Diego Vipal db. See, Vidal de Liendo.
LIER, Adolf, a German landscape painter, was
born in 1827, and died at Brixen in 1882. 'There
is by him in the New Pinakothek at Munich a
view of ' The Theresien Wiese at Munich, with the
colossal Bavaria.'
LIERNUR, Alexander, a Dutch draughtsman
and engraver, was born at the Hague ,in 1770.
Having had the misfortune at an early age to lose
his parents, he was adopted by the Stadtholder,
William V., who placed him in the Home of the
Lutheran Orphans. Showing a disposition for art,
he was sent to the Academy, where he gained the
gold medal. In 1794 he went to Rome, but
owing to political affairs in Holland being so
disturbed, he was obliged to return the following
year. He was very successful with his drawings,
as well as with the graver. He died at Amsterdam
in 1815.
LIERRE, JoosT VAN, was bom at Brussels in
1530. He was a painter of landscapes and figures,
but resigned art to hecome a minister of the re-
formed religion at Zwyndrecht near Antwerp.
He died in 1583.
LIES, Joseph, a Flemish genre and historical
painter, was born at Antwerp in 1822. He studied
under N. De Keyser and Leys, and received a gold
medal at Brussels in 1853. He died in 1865.
Amongst his pictures are :
Baldwin, Count of Flanders, punishing Robbers. {Brus-
sels Gallery.)
Rapine, Plunder, and Conflagration. (The same.)
The Prisoner. {Antwerp Gallery.)
The Approach of the Enemy. {The same.)
66
A Military Envoy returning from an Expedition.
The Promenade.
The Pleasures of Winter.
LIBSBORN, Master of, is known by an ex-
cellent altar-piece, which was formerly in the
second church of the convent at Liesbom, near
Mlinster, and consecrated in 1465. It was
sold in 1807, and the new proprietor made
several pieces of it. Some of them are in the
possession of Dr. Haindorf at Miinster, and others
are now in the National Gallery in London. A
copy of the whole by one of the artist's pupils
was in the Protestant Church at Liinen, but it
is now destroyed ; it represented, in the middle,
' Christ on the Cross, surrounded by St. John, St.
Soholastica, and St. Benedict, the Virgin Mary, St.
Cosmas, and St. Damian ' ; and on the sides eight
scenes in the Life of Christ, — the 'Annuncia-
tion,' ' Nativity,' ' Adoration of the Magi,' ' Pre-
sentation,' 'Resurrection,' 'Ascension,' 'Descent
of the Holy Ghost,' and ' Last Judgment.' The
whole is a mixture of the school of the Van Eycks
and that of Cologne. The Master of Liesbom
had several pupils, whose works are still partly
preserved.
LIBVENDAL, Isaac, was a Spanish engraver,
who resided at Granada in the reign of Philip IV.
(1621-1666).
LIEVENS, Jan. See Livensz.
LIGARIO, Cesare, a painter, bom at Milan in
1716, was a sou of Giovanni Pietro Ligario. He
studied at Venice under Pittoni, and afterwards
with his father. He was living in 1766.
LIGARIO, Giovanni Pietro, was bom at
Sondrio, in the Valtelline, in 1686, and having
learned the first rudiments of art in his native
country, went to Italy, and resided some years at
Rome, where he improved his design by frequenting
the school of Lazzaro Baldi, and afterwards visited
Venice, where he studied the works of the most
eminent masters of that school of colouring. On
his return to his native town in 1727, he was
employed in painting some historical pictures for
the churches and private collections. He died at
Sondrio in 1748. He has left a ' St. Benedict ' in
the church of the nunnery at Sondrio, and a
' Descent of the Holy Ghost ' in the church at
Morbegno. In the Brera at Milan are portraits
of the painter's father and the Abbot Mottalini.
He also engraved a ' Virgin ' and ' 'The Martyrdom
of St. Peter.'
LIGHTBODY, John, an English engraver, has
left a few small etchings of Beggars.
LIGHTFOOT, William, was an English painter
and engraver. He excelled in painting landscapes
and perspective views, and was employed by
Wren in the decoration of the Royal Exchange.
In the ' Sculptura,' by Evelyn, he is mentioned as
an engraver, in the following terms : " Lightfoot
hath, a very curious graver, and special talent for
the neatness of his stroke, little inferior to Wierix ;
and has published two or three Madonnas, with
much applause. He died about 1671."
LIGLI, Ventura, was a painter of the Neapolitan
school, who lived in the second part of the 17th
and the commencement of the 18th centuries.
He was a pupil of Giordano, and went to Spain,
where he was called 'Linos.' In 1682 he was
living at Madrid, where there is a picture of the
' Battle of Almansa ' painted by him.
LIGNON, ^TiENNE FRiDiSRio, a French line en-
graver, was born in Paris in 1779, and died there
Ligny
PAINTERS AND ENGRAVERS.
Limosin
in 1833. He studied under Morel, and among his
best plates are :
Ecce Homo ; after Gvido Bern.
The Eape of Deianeira ; after the same.
The Virgin with the Fish ; after Raphael.
Leo X. ; after the same.
Nicolas Poussin ; after himself.
The Duchess of Angoul^me ; after Augustin.
Louis Philippe ; after L. Dupre.
Charles X.; after Gerard.
Mile. Mars ; after the same,
Alexander I., Emperor of Eussia ; after Vigneron.
Camoens ; after the same.
Francois Joseph Talma ; after Picat.
Psyche and Cupid ; after the same.
The Duke de Richelieu ; after Sir Thomas Lawrence.
LIGNY, FEANgoiS db, a French engraver,
executed two landscapes after Gaspard Poussin.
LIGORIO, PiRRO, an architect, engineer, sculptor,
and antiquary, who also executed some paint-
ings, was bom at Naples in 1493. He went early
in life to Rome, where he studied under Giulio
Romano. He was employed in an architectural
capacity by Paul IV. and Alphonso II. ; but he
produced some fresco works at Rome, of which
the principal is the ' Feast of Herod,' in the oratory
of the Compagnia della Misericordia. He also
painted several friezes and ornaments in the public
edifices. He died at Ferrara in 1580.
LIGOZZI, Bartolommeo, a nephew of Jacopo
Ligozzi, was bom at Verona, and flourished at
Florence about 1620. He painted flowers and
genre subjects, and died at the age of 75.
LIGOZZI, Giovanni Ermanno, a native of Verona,
flourished about 1570. By some he is supposed to
have been a son of Jacopo Ligozzi. In the Church
of the Apostles at Verona is a picture by him
entitled ' The Name of Jesus,' dated 1573, and a
fresco over the principal door of the church of SS.
Nazzaro e Celso.
LIGOZZI, Jacopo, was born at Verona about
1543, and was a disciple of Paolo Veronese.
His principal residence was at Florence, where
he was made painter to the Grand-Duke Ferdi-
nand II., and superintendent of the Ducal Gallery,
a distinction honourable to his talents, as it
was conferred on him in preference to the many
able Florentine painters of the time. He died
after 1632. He has left some admired fresco
paintings in the cloister of the Ognissanti. There
are several of his oil pictures in the churches at
Florence. In Santa Maria Novella is a grand
picture of ' St. Raymond resuscitating a Child ' ;
but his most celebrated work is his ' Martyrdom of
St. Dorothea,' at the Conventuali at Pescia. He was
very successful with easel pictures of a small size.
He signed his works Jacob Ligot. pinxit. Some
of them have been engraved by Agostino Carracci,
and other artists. Andrea Andreani executed
several woodcuts after him, and it is said that he
engraved some prints,' both on copper and on wood,
from his own designs. The name of Fkancbsco
Ligozzi is found on a painting in San Luca ; and
that of Paolo Ligozzi (died 1630) on one in Sant'
Eufemia.
LILIENBERGH, Cornelis, (or Lelienbergh,)^
painter of dead game and subjects of the chase, in
the manner of Weeninx, was born at the Hague
about 1600. His works are distinguished for cor-
rectness of drawing, good colouring, and truth to
nature. He died at the Hague after 1663. Several
of his paintings are in the galleries of Berlin,
Dresden, Christiania, Count Czernin at Vienna, and
Castle Howard.
LILIO, Andrea, called Andrea d'Ancona nella
Marca, was born at Ancona (?) in 1555. He went
to Rome, where he was employed by Pope
Sixtus V. in the decoration of the Hbrary of the
Vatican, and in the palace of St. John Lateran,
where he painted in fresco on the Soala Santa
' Moses striking the Rock,' a grand composition of
many figures, and ' Moses with the Brazen Serpent.'
In a chapel of the Chiesa Nuova, he painted
'The Archangel Michael driving the Evil Spirits
from Heaven ' ; and in Santa Maria Maggiore a fine
fresco of ' Christ washing the Feet of His Disciples.'
After the death of his protector he continued to orna-
ment several of the churches and convents of Rome
in the time of Pope Clement VIII. He also painted
allegorical subjects, some of which have been
engraved. At Ancona, in the church of San Stef ano,
is a picture of the ' Stoning of St. Stephen.' He
died at Ascoli in 1610.
LILLY, E., an English portrait painter and
engraver, practised at the end of the 17th and
the beginning of the 18th centuries. There is
a portrait of Queen Anne by him at Blenheim
Palace.
LILLY, Henry, an English illaminator and
draughtsman, flourished in the early part of the
17th century, and held the office of Rouge-Croix
pursuivant at arms. There is a genealogy of the
Howard family by him containing portraits, &o.
He died in 1638.
LIMBORCHT, Hendrik van, was born at the
Hague in 1680, and studied under H. Brandon,
Robert Du Val, and Adriaan van der Werffi, whom
he imitated with success. Limborcht excelled in
painting landscapes, historical subjects, and por-
traits. He died in 1758. There are by him : ,
Amsterdam. Museum. Cupid and Psyche.
„ „ Children playing.
„ „ The Shepherds.
Dresden. Gallery, Venus and Cupid.
Paris, Louvre. The Eepose in Egypt.
„ „ The Golden Age.
Eotterdam. Museum. Ulysses at the Court of Lyco-
medes.
Two engravings by him are known — ' Pandora'
and ' Hercules and Lichas.'
LIMOSIN FAMILY. The history of this family
of enamel painters of Limoges is veiled in a cloud
of obscurity, which the researches of M. Maurice
Ardarit among the archives of Haute-Vienne, and
of M. A. Thomas in the mnnicipal archives of
Limoges, have not been able entirely to dispel.
Nevertheless, the following genealogical table will
show approximately the relationship which existed
between several members of the family of Limosin,
but there are others also who practised the art of
enamel painting, whose lineage has not yet been
ascertained. Three only of these are of sufficient
importance to merit separate notices, viz. Leonard
I., Jean I., and Franjois I.
Fran(;ois Limosin
(Innkeeperj.
LEONARD I.
(1606 ?-d. before isrr).
Martin
(d. 1571?).
•Teak L
(16287-1610?).
Leonard II.
(1550?— 1626?).
Francois Jean Martial Francois
(b. 1689). (1). 1601 (b.lOOr). (b. 1616).
Francois I.
(b. before 1664:
d. 1646).
Leonard,
Leonard
(b. 1619).
FraoQoia
Cb..lfl06).
Leonard
(b. 1620).
57
Limosia
A BIOGRAPHICAL DICTIONARY OP
Limosin
LIMOSIN, Francois, the younger son of Martin
Limosin, was born before 1654, and with his
brother, Leonard II., was co-heir of his uncle,
Leonard I. He died in 1646. His enamels are
more like those of the De Courts ; they are deep in
colour and sometimes heightened with gold, and
his backgrounds are often of dark violet. He
frequently copied the designs of Virgil Solis and
Etienne Delaune. The following may be mentioned
as examples of his style :
London. British Mitseum. Keptune. 1633.
Paris. Louvre. Neptune; after Virgil Solis.
1633.
„ „ Orion pierced by the arrows of
Apollo.
„ „ Psyche imploring Venus.
„ „ Orpheus before Pluto and
Proserpine ; after Virgil Solis.
„ „ Orpheus nharmingthe Animals;
after Mltienne Delaune.
„ „ Venus and Cupid.
LIMOSIN, Jehan, a younger brother of L(5onard
I. and Martin Limosin, was born before 1528, and
died about 1610. The earliest enamel signed by
Jehan Limosin is a portrait of Bardon de Brun,
the founder of the confraternity of Penitents at
Limoges, which bears the date of 1597. His style
approaches nearer to that of Jean and Suzanne de
Court than to that of his uncle, and he gives to his
heads the sharp proiile which is characteristic of
French art at the close of the 16th century. Hunt-
ing scenes were his favourite subjects, and green
backgrounds and reliefs of gold dominate in most
of his works. Among them may be mentioned :
liondon. British Museum. Charon ferrying Psyche across
the Styx ; oval plaque. 1590 ?
„ „ St. Margaret. 1600 ?
„ South Kensington \ Oblong Casket, painted with
Museum. j Bacchanalian procession and
mediaeval dancing groups.
(Formerly in the Deiruge and
Soltykoff Collections.)
„ „ The Death of St. Benedict ; a
plaque.
Paris. Louvre. Esther before Ahasueras,
„ „ The Wife of Uriah.
„ „ The Kape of Europa; after
Virgil Solis.
» „ Pompey.
„ „ Julia, wife of Pompey.
„ „ Divine Love conquering Pro-
fane Love.
LIMOSIN, LiiONAED, the greatest of the enamel
painters of Limoges, whether in regard to the variety
of his works, or to their artistic merit, was born at
Limoges about 1505, and was probably a pupil of
Nardon P&icaud. His first works were inspired
by German masters, and the earliest date foUnd
upon any of them is 1532, which occurs upon
a series of eighteen plaques of the 'Passion,'
after Albrecht Diirer. From 1635, however, he
came under the influence of the Italian school,
and of the artists who had been engaged by
Francis I. to decorate his palace at Fontainebleau.
Nevertheless, his copies even of Raphael are exe-
cuted with such freedom as to render them almost
his own works. In 1641 he was established at
Limoges, and subsequently he was appointed
court-painter to Francis I., and patronized by
Henry II. The latest enamels upon which Leonard
Limosin has placed a date bear that of 1574. He
died between January, 1575, and February, 1577.
He practised all the processes known to the enamel
painters who had preceded him, but his predilection
was for brilliant colours, which towards the end of
58
Iiis career he placed on a deep blue ground. His
portraits in enamel are very fine, and often of
large size. He also painted in oil the 'Incredulity
of St. Thomas,' dated 1551, in the Museum at
Chartres, and other works. Hi^ works are signed
with his name, the initials Zi. L., or a monogram.
There are by him :
Berlin. Kuns hammer. A Madonna.
„ „ Buth and Boaz.
Chantilly. Duke ) Antoine de Bourbon, King of
d^Aumaie.j Navarre. {Formerly in the
Delrruge and Soltykoff Col-
lections.)
„ „ Jean de Bourbon, Due d'En-
ghien. (Formerly in the
Soltykoff Collection.)
„ „ Jeanne d'Albret, Queen of
Navarre. (Formerly in the
Visconti Collection.)
„ „ Louis de Bourbon, Duke of
Montpensier. 1550. (For-
merly in the Debruge and
Soltykoff Collections.)
Chartres. Saint-Fere. The Twelve Apostles. 1547.
(This series was executed from
the deigns of Michel Hochetel,
and formerly adorned the
chapel of the Chiteau d'Anet.)
Loudon. British Museum. The Twelve Sybils ; half-length
figures. 1550?
„ „ Cupid and Psyche, forming the
centre of a large round dish,
and surrounded by a very
rich border of figures, fish,
animals, birds, &c. (Formerly
in the Fauntaine Collection.)
„ South Kensington ) The Crucifixion ; a plaque in
Museum. J transparent colours on ' pail-
Ipn,' or metallic foil. 1539.
„ „ Tazza, or Shallow Bowl, with
the figure of Laocoon,painted
in grisaille. 1539.
n >, The History of Cupid and
Psyche (after Raphael) ; two
plaques in light colours on
white ground. 1540 ?
;, „ Charles Tiercelin, Chancellor of
France ; a square plaque.
1540? (Formerly in the
Soulages Collection.)
;, )) Antoine de Bourbon ; a square
plaque. 1540-50? (Formerly
in the Smilages Collection.)
» „ The Banquet of the Gods ; an
elliptic plaque. 1560 ? (For-
merlyintluBemal Collection.)
» „ Charles de G uise. Cardinal de
Lorraine ; a large oval medal-
lion. (Attributed to Leonard
Limosin.)
„ „ St. Thomas, St. Matthew, St.
James the Greater, and St.
James the Less ; medallions.
(Attributed to Leonard Li-
inosin.)
„ Mr.Magniac. Hunting Horn, decorated on
one side with the Conversion
of St. Hubert and scenes of
the chase, in colours, and on
the other side with David
slaying Goliath, and mednl-
lions in grisaille. 1538. (For-
merly, in the Strawberry Hill
Collection.)
„ Mr.Daniy't'FTB.-acis I,, King of France.
Seymour, f (Formerly in the Strawberry
Hill Collection.)
» n Catharine de' Medici.
Munich. Treasury. The Manna in the Desert; a
dish.
Paris Louvre. Psyche carried off by Zephyr
(after Saphael). 1535.
» )) St. Thomas (Francis I.).
Lin
Paris.
PAINTERS AND ENGRAVERS.
Louvre, St Paul (Admiral Ohabot).
„ „ Votive Tablet for the Sainte
Chapelle, consisting of
twenty-three plaques, that
in the centre representing
the Crucifixion. 1553.
„ i, Votive Tablet for the Sainte
Chapelle, consisting of
twenty-three plaques, that
in the centre representing
the Resurrection. 1553.
„ „ Francis II.
„ „ Catharine de' Medici, in widow's
costume.
„ ), Venus and Cupid. 1555.
„ „ A Concert.
„ Musie de Cluny. Eleanor of Austria, Queen of
Francis I. 1536.
„ „ The Life and Passion of Christ ;
twelve large oval medallions.
1557.
„ » The Judgment of Paris {after
Raphael) ; a circular dish,
with figures in grisaille on a
blue ground. 1562.
„ Legislative Chamber. Two glass paintings represent-
ing Henry II. and Catharine
de' Medici. 1553.
„ Barm Alphonse ) The Adoration of the Kings ;
de Rothschild. J a triptych. 1544.
„ £aron Gvstave \ The Manna iu the Desert.
de Rothschild. J 1568.
„ Baroness James ) Henry II. on horseback, with
de Rothschild. J Diana of Poictiers riding
behind him. 1547.
1, » Anne d'Este, Duchess of Guise.
I, „ Charles IX., as Apollo. 1573.
« >, Henry III., as Jupiter.
■, „ Catharine de' Medici, as Venus.
1574.
)i „ Anne de Montmorency, Con-
stable of France.
» ), Pius V.
» „ The Last Supper. 1546.
„ Prince Soltykoffl Claude de France, first wife of
(now dispersed). J Francis I. 1550.
Four etohiugs, according to Robert-Dumesnil, were
executed by Leonard Limosin, after liis own com-
positions ; they are done with a broad and spirited
point, with ^arge figures and small heads ; they
are as follow :
Christ entering Jerusalem. 1544.
The Last Supper. 1544.
Christ on the Mount of Olives. 1544.
The Resurrection. 1544.
LIN, Hans van, called Stillheid, or ue Stillb,
flourished from 1664 to 1675, according to dates
on his pictures. He painted battles and hunting
pieces, and some of his works are to be met with
at Copenhagen and Dresden. His pictures are
marked H. V. L. There exists a plate of animals
engraved by him. C. E. Boetius executed after
him an engraving of ' A Company in an Alehouse.'
LINAJUOLO, Beeto, was a Florentine painter,
who lived in the first part of the 15th century. His
pictures gained him sufiicient fame to cause him to
be summoned to the court of Hungary, where he
was received with favour.
LINCK, Hans von, is mentioned as an engraver
by Professor Christ, who says he marked his prints
with the monogram JJ',
LINCK, Johann Anton, a painter and engraver,
was a native of Geneva, who worked with his
father, Johann Conrad Linck, till 1788. He exe-
cuted a large number of Swiss views, especially of
Chamounix, which are correct in drawing and good
in colour.
Lines
L'INDACO, Jacopo, an Italian painter, was born
at Florence m 1476. He was the son of Lazzaro
di I'letro, a baker, and received from his contem-
poraries the surname of 'L'Indaco.' He was a
pupil of Domenico Ghirlandaio, and worked in
Rome with Pinturicohio. There he became intimate
with Michelangelo, who instructed him in the art
of painting in fresco. He died at Rome about
1544, at the age of 68. He was a good artist, but
all his works mentioned by Vasari have perished
He had a brother, Francesco, also called L'Indaco'
who was born in 1492, and was living in Rome in
1658. His talents were inferior to those of Jacopo
LINDBMANN, Christian Philipp, a German
engraver, was born at Dresden in 1700. He
worked in Italy, Nuremberg, and Ratisbon, and
devoted himself chiefly to reproducing Italian
masters. He died at Nuremberg in 1754. Among
his works are :
St. John the Baptist ; after Bernin.
Apollo and Marsyas, Endymion, Zephyrus and Flora ;
after Corradini.
Venus and Cupid ; after Balestra.
LINDENSCHMIT, Wilhelm, was born at
Mayence in 1806, and studied in the Academy at
Munich under Cornelius in 1823. In 1824-25 lie
was at Vienna, but established himself at Munich
in 1826. He was subsequently employed in the
castle of the Duke of Saxe-Meiningen at Lands-
berg. He died at Mayence in 1848. The following
are by him :
Hohen- Castle. The History of the Fortress of
schwangau. Hohenschwangau.
)) „ The History of the Hohen-
staufen and Guelfs.
Landsberg. Castle. Encaustic Frescoes of the His-
tory of Saxony.
Munich. Court Garden. The Victory of Louis the Rich
at Giengen.
„ Royal Palme. Several scenes from Schiller's
Poems.
„ Royal Gallery. Some scenes from the Life of
Leonardo da Vinci.
LINDER, Feanz, (or Lindeben,) a German
painter and engraver, was born at Klagenfiirt in
1738. He studied the elements of art under Lay-
bach, and then went to Venice and afterwards
to Vienna, where he attended the Academy. In
1776 the Empress sent him to Rome, whence after
four years he returned to Vienna. He painted
portraits i;j the style of Palko, and among his sitters
were the Grand-Duke Maximilian, Joseph II., the
Royal Family of Naples, and several others. He
died about 1809.
LINDMEYER, Daniel. See Lintmeyee.
LINDNER, Feanz. See Linder.
LINDSAY, Thomas, a landscape painter in
water-colours, whose specialty was Welsh scenery,
was in 1837 elected^ a member of the New Society
of Painters in Water-Colours. In the latter part
of his life he lived near Brecon, where he died
in 1861.
LINES, Samuel, a landscape painter, was born
in 1778 at Allersby, near Coventry. Being an
orphan, he was brought up by an uncle, a farmer,
whom he assisted. He was then apprenticed to a
clock-face enameller at Birmingham, and after-
wards designed for art-manufactures. He found
his true vocation in 1807, when he opened a draw-
ing academy, and during the remainder of his life
he took a prominent part in all matters relating to
art in Birmingham. He died in 1863.
59
Lines
A BIOGRAPHICAL DICTIONARY OF
Liuuell
LINES, Samuel Restell, a landscape painter,
the third son of Samuel Lines, by whom he was
taught, was born at Birmingham in 1 804. His forte
was the depiction of trees, and he had also a keen
eye for the picturesque in architecture. He died
at Birmingham in 1833. There is a water-colour
drawing by him at the South Kensington Museum
of the ' Dais and Dining-Table at Haddon Hall.'
LINGE, Bernhard van, was a native of the
Netherlands, who established himself in England
about the middle of the reign of James I. He
distinguished himself as a painter on glass, and
his oldest known work is at Wadham College,
representing the ' History of Christ,' 1622. It is
said that several other glass paintings by him are
there, as well as at Lincoln College, 1629-31.
LINGJ^E, Charles Louis, a French engraver,
was born in P;iri3 in 1751. He worked with the
point and the burin, and engraved several prints,
among which was ' The Vintage,' after Louther-
bourg. He died in Paris about 1805. His wife,
TH^siiSE lilLtioNORE H:6meex, who was born in Paris
in 1753, executed several plates in the crayon style.
LINGELBACH, Johannes, was born at Frank-
fort on the Main in 1625. It is not mentioned by
whom he was instructed ; but the ability of the
master may be presumed from the talents of the
pupil. He went to Amsterdam in 1637, and after
spending five years there he returned home and re-
mained two years, and then in 1644 visited Italy.
He passed six years at Rome, assiduously employed
in sketching the most remarkable objects in and
near that capital. In 1652 he returned to Amster-
dam,with the studies he had accumulated during his
residence in Italy, of which he made an ample use
in the composition of his pictures. His works
frequently represent Italian sea-ports, in which he
introduced an infinite number of small figures,
habited according to their different nations. His
pictures are embellished with architecture, and the
ruins of ancient monuments and statues. He was
equally successful in his representation of fairs,
Italian markets, and the amusements of the Carni-
val, with appropriate figures, ingeniously grouped,
of quack doctors, surrounded by crowds of spec-
tators, and similar assemblages. His ability in
painting small figures and animals induced several
of the landscape painters of his time to have re-
course to him to decorate their pictures, particularly
Wynants and Wouwerman, by whom his style of
painting was largely influenced, and also Koninck,
Verboom, Moucheron, and Hackaert. He signed his
works with his name or a monogram. Zylvelt
engraved after him four ' Genoese Harbours,' and
Gronsvelt twelve ' Italian and Oriental Ports.'
There are by Lingelbaoh a few slight but spirited
etchings of landscapes, sea-ports, &c., after his own
designs. He died at Amsterdam in 1687. The
following are among his paintings (besides others
at Augsburg, Copenhagen, Christiania, Brunswick,
Dresden, Frankfort, Munich, St. Petersburg, and
Vienna) :
Amsterdam. Museum. Dentist on Horseback.
„ „ An Italian Harbour. 1664.
„ „ The Biding Scbool.
„ Town Hall. The plan of tbat building. 1656.
" ''coSfrl^o-gtotl^^Hunt.
Hague. Gallery. An Italian Port. 1670.
London. Nat, Gallery. Hay Harvest.
Paris. Louvre. The Vegetable Market. 1670.
„ „ A Sea-port,
Kotterdam. Museum. Italian Landscape.
60
LINNELL, John, aportraitand landscapepainter,
was born in 1792 in London, where his father was a
picture-dealer and wood-carver. He soon showed
remarkable aptitude for art, and by the advice of
Benjamin West he attended the schools of the Royal
Academy at Somerset House, into which he was
admitted in ■ 1805. He became too a pupil in
John Varley's studio, where he learned more from
his fellow pupil, Mulready, than from his master.
His progress was so rapid that in 1807 he con-
tributed to the Academy exhibition 'A Study
from Nature,' and ' A View near Reading.' About
this date he and William Hunt worked for George
Dawe on a large transparency which was required
for an illumination intended to celebrate a victory
over the French. Like the ablest of his con-
temporaries, he could paint a panorama or a minia-
ture, or engrave a portrait. Besides old masters'
works, Linnell engraved in mezzotint John Varley's
'Burial of Saul,' and Collins's 'Feeding the
Rabbits ' and a ' Scene on the Brent.' In 1807 he
gained a medal for a drawing, and in 1810 one
for a model in the Life School of the Academy ;
and in 1809 he gained in the British Institution
a prize of fifty guineas for a landscape called
'Removing Timber.' He soon devoted himself
to portrait painting and to pictures of scenery near
London. At this time he established himself
with Mulready in Francis Street, Tottenham
Court Road. In 1810 appeared ' Fishermen wait-
ing the return of the Perry Boat, Hastings,' and
in 1811, 'The Ducking, a scene from Nature.'
After this Linnell ceased to contribute to Somerset
House till 1821, but from 1818 to 1820 he exhibited
in Spring Gardens with the Society of Painters in
Oil and Water-Colo urs. He executed many minia-
tures on ivory, and produced several portraits,
some of which he reproduced in mezzotint. One
of the first of his subject landscapes was painted
in 1835, ' Christ's Appearance to His Disciples on
the way to Emmaus,' which attracted a great deal
of attention owing to its originality, and the pathos
imparted to the landscape, which was the distin-
guishing characteristic of all his work. ' Windsor
Forest' was painted in 1837. In 1852 Linnell
retired from London to Redhill, where he died in
1882. He published 'Michael Angelo's Frescoes
in the Sistine Chapel,' 1834 ; ' The Royal Gallery
of Pictures,' being a selection of the paintings
in Buckingham Palace, 1840 ; and a, tract entitled
' The Royal Academy, a National Institution,' 1869.
A drawing of Sarah Austin by him is in the
National Portrait Gallery. The following is a list
of his principal pictures :
portraits.
Sir Augustus 'Wall Callcott, E.A. 1832.
William Mulready, E.A. 1833.
Thomas Phillips,E.A.
Eev. Thomas Eobert Malthus.
William Collins, E.A.
Archbishop Whateley.
John Sterling.
Thomas Carlyle.
Sir Robert Peel, Bart.
Lord Lansdowne.
Ijord Monteagle.
Sir Francis Thornhill Baring, Bart., afterwards Lord
Northbrook. 1842.
Samuel Eogers. 1835.
Sir Henry Torreus.
Lady Lyndburst.
Marshal Espartero.
General Sir Ealph Darling.
Charles Chetwynd, second Earl Talbot. 1840.
Lino
PAINTERS AND ENGRAVERS.
Xiiotard
SUBJECT PICTURES.
Christ and the 'Woman of Samaria.
The Disobedient Prophet. 1854.
The Last Gleam before the Storm.
Crossing the Brook. 1868.
The Lost Sheep. 1869.
The Timber "Waggon.
Barley Harvest.
Eampstead Heath.
Under the Hawthorn.
The ■Woodcutter.
The Eve of the Deluge;
The Eeturn of Ulysses.
Wood-Cutters. {National Gallery.)
The 'Windmill. 1847. {The same.)
LINO, PiETKO Di, or Pbreolino, was an old Sien-
nese painter, who flourished in the 12th century.
He is the oldest Tuscan master known, but no work
has been assigned to him with certainty.
LINSCHOTBN, Cornelis Adeiaan van, a Dutch
historical painter, was born at Delft in 1690. As
soon as he had learned the rudiments of the art,
he went to Rome, where he is stated to have been
a pupil of Ribera, and to have attached himself
to the study of the works of Michel Angiolo da
Caravaggio, whose vigorous style he followed with
some success. On his return to Holland he painted
some historical subjects ; but his dissipated cha-
racter rendered it difficult for his employers to get
their pictures out of his hands. Two of his most
esteemed works, representing 'St. Peter denying
Christ ' and the ' Repentance of St. Peter,' were at
the Hague. He died at the Hague in 1679.
LIN SEN, Jan, was a Flemish painter, who re-
sided some years in Italy. He painted marines
and sea-fights, of which the most remarkable was
the representation of an engagement at which he
had himself been present, and in which he was
taken by an African corsair. He is said to have
been killed in a quarrel with a gamester.
LINT, Hendrik van, called Studio, the youngest
son of Pieter van Lint, was born at Antwerp in
1684. In 1697 he entered the studio of Pieter
van Bredael, and afterwards went to Rome, where
he passed the remainder of his life. He was
assiduous in sketching the most picturesque views
in the vicinity of that city, from which he formed
the subjects of his landscapes, which are painted
in a style imitating that of Claude Lorrain. He
acquired the name of ' Studio ' from the society of
Plemish painters at Rome, through his application
to his studies. He was still living in 1726. His
paintings include the following :
Augsburg. Gallery. Two Landscapes.
Brunswick. Gallery. Beturn from the Chase.
Turin. Gallery. Landscape. 1726.
LINT, Pieter van, was born at Antwerp in
1609. At the age of ten he entered the studio
of Roeland Jacobs, and having become in 1633
a master of the Guild, he went to Italy, and
passed several years at Rome. Soon after his
arrival, his talents attracted the notice of Car-
dinal Domenico Ginnasio, Bishop of Ostia, who
employed him in several considerable works for
his cathedral, and in the chapel of La Santa Croce
in Santa Maria del Popolo, at Rome. After an
absence of nine years he returned to Antwerp,
and was employed in painting some altar-pieces
for the churches, as well as pictures of a smaller
size for private collections. He died at Antwerp
in 1690. Among his chief historical works were
the ' Virgin and Child, with Saints,' in the church
of St. Jacques, at Antwerp ; and a fine picture in
the church of the Carmelites, representing the
' Virgin presenting to some Monks the Order of
their Community,' painted in the style of Van
Dyck. He also painted portraits with great suc-
cess, many of which are highly esteemed in the
Low Countries. Besides five other paintings, there
is the portrait of Cardinal Ginnasio in the Antwerp
Gallery. Bat apart from these the only other
picture by Pieter van Lint now to be seen in his
native city is ' The Parting of St. Peter and St.
Paul before their Martyrdom,' which adorns one of
the altars in the church of St. Jacques. He exe-
cuted also an etching, representing ' Virtue and
Vice.'
LINTHORST, J., a painter of fruit and flowers,
was born at Amsterdam in 1766, and died there in
1815. Two fine specimens of his work are in the
Museum of his native city.
LINTMEYER, Daniel, (or Lindmeyee,) was
born at SohafEhausen about the year 1540. He
was chiefly known as a painter on glass, and
flourished from about 1560 to 1591.
LINTON, J., an English portrait painter, flour-
ished at the close of the 17th century. He painted
a portrait of Sir 'W'illiam Ashurst, Lord Mayor of
London in 1694.
LINTON, 'William, a landscape painter of the
classic or ideal school, was born at Liverpool in
1791. He was educated at Rochdale, and then
placed in a merchant's ofBoe at Liverpool. At-
tracted by art, he studied Claude and Wilson, and
made his first appearance at the Royal Academy
with three pictures in 1817. He also exhibited at
the British Institution, and at the Society of British
Artists, of which he was one of the founders.
Considerable time was spent by him in travel
among the scenes of classical antiquity, and he
exhibited a collection of his sketches in 1842. He
paid considerable attention to the composition of
colours, and published a pamphlet on ' Ancient and
Modern Colours.' He died in London in 1876.
Amongst his chief works are :
The Temples of Psstum. (National Gallery.)
Embarkation of the Greeks for the Trojan 'War.
A Fdte Day at Venice.
Venus and .fflneas.
Greek Armament.
Marius at Carthage.
Lake of Orta.
Italy. ( Woburn Albey.)
BelHnzona.
View on Coast of Southern Italy. {Bridgewater Gallery.)
LION, A., is a name inscribed, with the date
1628, on a good picture in the Town Hall of Amster-
dam, representing twenty-five archers. No other
work is known by this master.
LION, Pierre, a Belgian portrait painter, was
born at Dinant about 1740. He went to Paris,
where he became a pupil of De Vien. He lived
for several years at Vienna, but eventually returned
to his own country, where he died in 1814.
LIONARpO DA VINCI. See Leonardo.
LIOTARD, Jean Etienne, called 'The Turk,'
was born at Geneva in 1702, and was intended by
his father for mercantile pursuits, but having suc-
ceeded in copying a miniature by Petitot, he was
permitted to follow his inclination for painting.
He went to Paris in 1725, where he became a
pupil of J. B. Mass6 and made the acquaintance
of Lemoyne. He soon got into practice in paint-
ing portraits in crayons, miniature, and enamel.
In 1738 he accompanied the Marquis de Puysieux
to Naples and then to Rome, where he painted the
61
A BIOGRAPHICAL DICTIONARY OF
Liotard
likeness of the Pope, and became acquainted with
two Bngliah noblemen, who engaged him to ac-
company them to Constantinople. During his
journey to the Levant, he put on Turkish cos-
tume, which he wore, with a long beard. He re-
mained in the Turkish capital four years, and was
next employed at Jassy by the Prince of Moldavia,
and then in 1749 by the Empress Maria Theresa
at Vienna. From there he proceeded to Pans
and thence to London, where he painted por-
traits of the Princess of Wales and the young
princes. He met with considerable employment,
for which he was probably indebted more to the
notoriety of his masquerade than to his talents as
a painter. He went in or about 1756 to Holland,
and there married ; but returned to London in
1772, bringing with him a valuable collection of
pictures by celebrated masters, as well as glass
paintings of his own workmanship, and these were
sold by auction for large sums. His chief forte
lay in crayon portraits, which he exhibited at
the Royal Academy in 1773 and 1774. In 1776
he returned to Switzeriand, and died at Geneva
in 1779. Among his paintings are :
Amsterdam. Museum. La Belle Lyonnaise (Mile. La-
vergne). 1746.
„ „ Marshal Saxe.
^, „ Maria Theresa, Empress of
Austria.
„ „ Lord Besshorough.
,j „ Louis, Dauphin of France.
,' „ Marie Josephine, Dauphiness
of France.
„ „ Oount Algarotti.
„ „ Countess of Coventry, in Turk-
■ish costume.
„ „ Countess of Marlborough.
Dresden. Gallery. The Viennese Chocolate Girl.
„ „ La Belle Lyonnaise.
„ „ The Artist's Portrait.
„ „ Count Maurice of Saxony.
London. iSouth Kensing- \ A Turk seated.
ton Museum. J A Profile Portrait. (Sir Everard
Fawkener ?)
Vienna. Gallery. La Belle Lyonnaise.
„ „ An Old "Woman sleeping.
There are a few etchings by this artist, among
which are the following :
The Empress Maria Theresa, in a Turkish dress.
The Archduchess Maria Christina, as above.
Een^ H^rault, Lieutenant-General of Police.
Portrait of Himself, with a long beard.
The Sick Cat, with some French verses.
LIOTARD, Jean Michel, born, at Geneva in
1702, was a twin bi-other of Jean Etienne Liotard.
He learned engraving at Paris under Benoit Audran,
and in 1735 went to Venice, whence after a time
he returned to Paris, and finally to his own country,
where he died in 1788. He engraved the following
prints :
Seven large plates from the Cartoons painted in fresco
in the Palace of the Duke of Parma, by Carlo Ciynani;
viz :
Love conquering the AVorld.
Cupid riding on pn Eagle.
Cupid's Fight with Pan.
Apollo and Daphne.
Bacchus and Ariadne.
The Triumph of Venus.
The Kape of Buropa.
Apollo rising from the Waves.
A set of subjects from the Bible ; aftar Sehastiano
Ricci.
LIPPARINI, LuDovico, was born at Bologna in
1800, and was instructed in art in that city, where
he brought himself into notice at the age of
62
Lippi
fifteen In 1820-21 he was at Rome and Naples,
and in' 1822, and again in 1826, at Venice, where
he became Professor at the Academy in 1838, and
Professor of Painting in 1848. He died at Venice
in 1866. Among his chief paintings there are :
Erigone. 1827.
Byron's Oath at the Grave of Bozzans.
The Ascension of Mary (Gca« Cathedral.)
Achilles.
Bacchus and Ariadne.
The Youth of Jupiter.
Pisani. [VienTM Gallery.)
LIPPERT, Joseph, a portrait painter, was born
at Neuburg in 1764. He went to the Art Academy,
and afterwards to Vienna, where he became ac-
quainted with a painter named Gerringer, with
whom he travelled for seven years. He died at
Pressburg in 1812.
LIPPI, Fra Filippo, was born at Florence about
the year 1400. He was the son of a butcher called
Tommaso Lippi ; but he lost both his parents at an
early age, and was left to the care of an aunt,
whose poverty rendered her unable to afford him
much material aid. In 1412 he entered the Car-
melite community at the Carmine of Florence, and!
studied painting from the frescoes of Masaccio in
the chapel of the Brancacci. In 1430 his name
first appears as a painter, and in 1432 he seems to
have left the monastery. The story told of his
capture by the pirates of Barbary at Ancona, and
of his captivity, is now considered to be more
than doubtful, since no traces of this event can be
found in any authentic records or works of this
artist. A letter exists, written by Fra Filippo in
1439 to Piero de' Medici, in which he calls himself
" one of the poorest friars in Florence," and as
having under his charge six marriageable nieces
for whom he has to find means to live and dowries.
When about twenty-six he painted the altar-piece,
representing the 'Virgin and Child enthroned,^
with a predella of four subjects, for Gherardo di
Bartolommeo Barbadori, which exhibited wonder-
ful talent at even that early age. The upper part
of this altar-piece is now in the Louvre, and ils
predella is in the Academy of Arts at Florence. In
1441 he executed for the nuns of Sant' Ambrogio
a 'Coronation of the Virgin, with Saints and
Bernardino Monks,' one of the latter of whom is
his own portrait with the tonsure, and holding a
scroll inscribed 'Is perfecit opus.' This clearly
shows that at that date he had not abandoned the
robes and marks of his Order. He seems at this
period to have been highly esteemed, and to have
received many commissions from the clergy and
the nobility of Florence. His most powerful
patron was Cosmo de' Medici, and it is probably
owing to his patronage that in 1452 he was
appointed chaplain to a convent of nuns in
Florence ; and in 1457 was made rector of San
Quirico at Legnaia. In 1456 Fra Filippo began
the frescoes at the Pieve, now the cathedral of '
Prato, having already painted a ' Death of St. Ber-
nard ' for the provost of that church, where it is still
preserved. It is whilst he was employed at Prato
that Vasari tells the story of Fra Filippo Having
abducted a nun named Lucrezia Buti, whose child
is known as Filippino Lippi. Ons of the finest
paintings executed by Fra Filippo whilst at
Prato is a 'Nativity,' now to be seen in the
refectory of the convent of San Domenico in
that city. His frescoes in the choir of tho
cathedral of Prato represent events in the lives
liippi
PAINTERS AND ENGRAVERS.
Lippi
of SS. John the Baptist and Stephen. They are
remarkable for their harmonious grouping and
colour, as well as for the richness of the costumes,
head-dresses, and other accessories. After frequent
interruptions, these frescoes were completed about
1468 by the one which represents the ' Death of St.
Stephen,' in which he introduced the portraits of
Cai-lo de' Medici, Fra Diamante, and himself. He
afterwards went to Spoleto, where he commenced
the frescoes which adorn the choir of the cathedral.
They represent the 'Annunciation,' the ' Nativity,'
and the ' Coronation of the Virgin,' and were com-
pleted after Era Filippo's_ death in 1469 by his
pupil and assistant, Era Diamante. Examples of
this artist's work may be found as under :
Berlin. Gallery. The "Virgin and Child.
„ „ The Virgin adoring the Child.
„ The Virgin as the Mother of
Pity.
Florence. iS. Lorenzo. The Annunciation.
„ Uffiei. The Virgin adoring the Infant,
borne by two Angels.
„ Pitti Pal. The Virgin, with SS. Jcachim and
Anne.
„ Academy. The Nativity.
„ „ Coronation of the Virgin.
Liverpool. Institution. Martyrdom, of St. Sebastian. '
„ „ Temptation of a Bishop.
London. Nat. Gall. The Annunciation.
„ „ St. John the Baptist with six
Saints.
„ „ The Virgin seated.
„ „ Vision of St, Bernard,
„ „ The Virgin and Child, with Angels
and Saints. (Formerly in San
Spirito, Florence.)
Munich. Gallery. The Annunciation.
„ „ The same {smaller),
„ „ The Virgin and Child.
Paris. Louvre. The Nativity.
„ „ The Virgin and Child.
Prato. Collegiale. Scenes from the Life of St, John
the Baptist.
„ Scenes from the Life of St.
Stephen.
„ Municipal Gall. The Virgin giving her Girdle to
St, Thomas.
„ S. Domenico. The Nativity.
Borne. Lateran Gall. Coronation of the Virgin.
Spoleto. Cathedral. Frescoes.
LIPPI, PiLippo, called Filippino, to distinguish
him from his father, was the natural son of Era
Eilippo, a Carmelite, and Lucrezia Buti, a novice.
He was born about 1457 at Prato, and received
his early education in that city, and after the
death in 1469 of Era Eilippo, whose relatives
were also living there, he came under the care
of Era Diamante, and received his first lessons in
painting from him, and not from Botticelli, as has
been pretended. This can be judged from his
early paintings, and from contemporary records.
In 1480 he painted, by commission of Pietro del
Pugliese, the 'Vision of St. Bernard,' which is
now above the altar in a chapel of the Badia,
Elorence. Another altar-piece, executed at about
this time, is the one in the church of San Michele,
Lucca, representing 'SS. Rooh, Sebastian, Jerome,
and Helena.' Both the above-mentioned pictures
strongly .recall Era Filippo's style. Between 1482
and 1490 he painted the frescoes in the Brancacci
chapel in the Carmine, Elorence, where Masaccio
had already commenced the decorations, and -left
unfinished the fresco representing ' St. Peter re-
storing a Boy to Life,' which was completed by
Eilipnino. Ills own frescoes are those of the
' Visit of St. Paul to St. Peter in Prison,' ' St. Peter
liberated from Prison,' ' SS. Peter and Paul before
the Proconsul,' and the 'Crucifixion of St. Peter.'
That he was highly esteemed by the Elorentines of
his time is proved by the fact that he was chosen
by the Council in 1482 to replace Perugino in the
decorations of the hall of the Palazzo Pubblico.
The ' Madonna and Child, between SS. Victor,
John the Baptist, Bernard, and Zanobius,' painted
in 1485, and originally intended for the Sala degli
Otto of the Palazzo, is now in the Uffizi G-allery.
In 1487 he received the commission to adorn the
Strozzi chapel in Santa Maria Novella, but seems
to have left that work unfinished and gone to
Rome, where he entered the service of Cardinal -
Oliviero CarafEa, whose chapel in Santa Maria
sopra Minerva he embellished with frescoes repre-
senting different scenes from the life of St. Thomas
Aquinas. These frescoes were probably finished
by about 1493, when Eilippino returned to
Florence, and in 1495 painted for the Confraternity
of San Francesco at Palco, near Prato, the altar-
piece of 'Christ appearing to the Virgin,' which
has upon the gradiiio the Body of Christ in the
tomb, and SS. Francis, Dominick, Clara, and others.
This painting is now in the Munich Gallery.
In 1498 he adorned a tabernacle at Prato with a
' Virgin and Child, between Angels and Saints,'
and in that same year he formed one of the
Council called to decide the question of the
repair of the lantern above the cupola of Santa
Maria del Fiore, that had been struck by lightning.
Both Perugino and Lorenzo di Credi likewise
assisted at these deliberations. Soon afterwards he
recommenced and finished the frescoes at the
Strozzi chapel, which represent various scenes in
the lives of SS. John the Evangelist and Philip.
These all show a certain decline in the artist's
powers in their general design, colour, and execu-
tion. Filippino died at Florence in 1504, and was
buried in the church of San Michele Bisdomini.
Other works by him are :
Berlin. Gallery, Portrait of a Youth.
„ „ Christ Crucified, between three
Angels.
Bologna. S. Domenico. St. Catharine before the Virgin.
1501.
Florence. Uffizi. Madonna with Saints. 1485.
Badia. The Vision of St. Bernard.
1480.
„ S.Donato. The Adoration of the Magi, 1496.
„ Corsini Gall. The Virgin and Child, with St.
John.
London. Nat. Gall. The Adoration of the Magi.
„ „ The Virgin and Child.
„ „ St. Francis in Glory.
Lucca. S. Michele. Four Saints,
Naples. Pal. S. Angelo. Holy Family.
Eome. «. Maria sopra ) ^j^^ Legend of St. Thomas.
Minerva, j °
LIPPI, GlACOMO, called Giacomo or Giacomone
DA BuDEio, and Giacomo della Lippa, born at
Budrio, flourished at the end of the 16th century.
He was a pupil of Lodovico Carracci, but displayed
more power of execution than genius. Among
his works was a set of frescoes taken from the
' History of the Virgin,' which he executed for the
church of the Annunciation at Bologna.
LIPPI, LOEENZO, was born at Florence in 1606,
and studied painting under Rosselli. Lorenzo
Lippi, like his friend Salvator Rosa, divided his
time between painting and poetry. His poem of
'II Maltnantile racquistato,' though perhaps less
read than the ' Satires ' of Salvator, is more elegant,
and is one of the most admired productions in the
Italian language. In choosing a prototype worthy
63
Icippo
A BIOGRAPHICAL DICTIONARY OF
Iiiszewska
of his imitation in painting, his taste and feeling
directed him to Santo di Titi. His pictures are
not very scarce in Florence, though he passed
several years at Innsbruck, where he was painter
to the court. He died at Florence in 1664. Among
his best works may be mentioned :
Florence. TXffiei. The Crucifixion.
„ 8ig. Gain. The Triumph of David.
Vienna. Gallery. Christ with the Woman of
Samaria,
LIPPO, a Florentine painter, was born in
1357. His earliest work was the decoration of a
chapel in the convent of San Benedetto in his
native city. From Florence this artist was invited
to Arezzo, where he decorated the chapel of the
Magi in the church of Sant' Antonio with a fresco
representing the ' Adoration of the Magi. ' In the
Cathedral also he decorated two chapels. At a
later period he executed many works at Bologna,
and then returned to Florence, where he executed
several scenes from the life of St. John the Evan-
gelist in the church of Santa Maria Maggiore. He
also worked largely in mosaic. None of this
master's works now remain, as most of them
perished in the siege of Florence. He was of a
quarrelsome disposition, and having used some
oti'ensive words to an adversary in a law-suit, he
was stabbed by him and died about 1430.
LIPPO DI DALMASIO (or delle Madonne).
See SCANNABEOOHI.
LIPPOLD, Feanz, a German portrait painter,
was born at Hamburg in 1688. He was instructed
by Denner, and employed at several German courts
until he settled at Frankfort in 1720. He died
there in 1768. Among his best portraits are :
The Emperor Charles VII. 1742.
The Emperor Francis I. 1745.
The Empress Maria Theresa.
LIPS, JoHANN Heinbich, was born at Kloten,
near Zurich, in 1758, and was destined for the
surgical profession ; but his inclination for art
caused him to abandon that intention, and he
studied design under Lavater, attending the
Academy at Mannheim in 1780, and six months
afterwards that of Diisseldorf , where he executed
his first plate, representing the ' Martyrdom of St,
Sebastian,' after Van Dyck. With his 'Antiochus
in Love with his Mother Stratonice,' he was
received a member of the Academy. He visited
Rome twice, in 1783 and 1786, in which last time
he began to paint historical subjects in water-
colours, and his copies after the old masters are
very faithfully executed. Circumstances forced
him to return to engraving, and among his 1447
plates there is not one of inferior quality. From
1789 to 1794 he was professor at the Academy of
Design at Weimar, but on account of his health he
was obliged to return to Zurich, where he died in
1817. Among the most important of his plates
may be mentioned :
The Adoration of the Magi ; after Annihale Cairacci.
The Bacchanal ; after JV. Foussin.
Charlotte Corday ; after Bria.
Portraits of Goethe, Wieland, and Ludwig Hess.
LIPS, JoHANN Jakob, the son and pupil of Johann
Heinrioh Lips, was born at Zurich in 1790. He
studied at Munich, whence he returned to his native
town in 1818 ; he there committed suicide in 1833
through disappointment over a plate on which he
had worked for years. He was an engraver of
ability, and executed various historical subjects
and portraits the best of which are :
64
Portrait of the Crown-Prince Louis of Bavaria.
Portrait of the poet Hebel.
St. John ; after Giulio Romano.
LIRIOS, Buonavbntuea. See Ligli.
LIS, Jan, called Pan, a Dutch painter, was born
at Hoorn in 1570. He was a pupil of Hendrik
Qoltzius at Haarlem, and imitated his style ex-
ceedingly well. He afterwards travelled, and
visited Paris, Rome, and Venice. On his return
to his native country he found plenty of em-
ployment, but his intemperate habits led him to
neglect his art. He after a time resolved again
to travel, and visit his friend Sandrart at Rome ;
but stopping at Venice, he died there of the plague
in 1629. His paintings represent festivals, pea-
sant life, masquerades, and nymphs bathing.
Among his best paintings are :
Cassel. Gallery. Sailors in an Inn.
„ „ Italian Peasants playing at Mora.
Dresden. Gallery. The Penitent Magdalen.
„ „ The Lute Player.
"^'""- rtif^^js*- J-°-« - '"^^ WMemess.
„ „ Adam and Eve lamenting over the
Body of Cain,
„ „ The Temptation of St. Anthony.
LIS, Jan van dee. See Van dee Lys.
LISCORNET, Jakob, was a native of Dantsic,
who flourished in the first part of the 17th century.
He painted historical subjects, and died in 1646.
LISEBETTEN, Pietee van, (or Leysebetten,)
a Flemish engraver, was born at Brussels about
the year 1610. In conjunction with Jan van
Troyen, he engraved part of the plates for the
Teniers Gallery. Among others are the follow-
ing:
The Portrait of David Teniers the elder ; after P. van
Mol.
Jupiter and Danae ; after Titian.
The Marriage of St, Catharine ; after Paolo Veronese.
The Visitation • of the Virgin to St. Elizabeth ; after
Palma Vecchio.
The Virgin, with the Infant Jesus and St. John ; after
the same.
Cupid presenting Fruit to Venus ; after Paris Bordone.
Diana and Endymion ; after the same.
LISKA, Johann Christoph, (or Lisohka,) a
painter, whose father was a government ofBcial
at Breslau, in 1660 executed some frescoes in
Prague. Several of his pictures are to be found
in the churches of Bohemia. He was living in 1692.
LISMANN, Johann Anton. See Eismann.
LISSANDRINO. See Magnasco, Alessandeo.
LIST, Geoeg Nikolads, a native of Ulm, was a
painter of portraits, and worked also at the court
at Stuttgart. He died after 1657. The following
portraits by him were engraved :
The Duchess of Wiirtemberg ; hy E. G. Heiss.
Eberhard III,, Duke of Wiirtemberg ; by Ph. Kilian,
The Theologian Schubels ; by Bembold.
LISTER, Maetin, a draughtsman and engraver
of natural history subjects, was born at RadclifEe,
in Buckinghamshire, about 1638. He graduated
M.D., and practised at York and afterwards in
London, where he became physician to Queen
Anne. He died in 1711. Assisted by his daughters,
Anna and Susanna Lister, in the etchings, ha
published :
' Historia Animalium Angliffi,' 1678.
' Historia Couchyliorum.' 1685-93.
LISZEWSKA, Anna Doeothea, afterwards
Theebusch, was born at Berlin in 1722. She was
Ziiszewska
PAINTERS AND ENGRAVERS.
liivensz
first instructed in painting by her father, Georg
Liszevvski. She went to Stuttgart in 1761, where
she painted portraits. Shortly afterwards she
became a member of the Institute at Bologna, and
then court painter at Mannheim. Subsequently
she returned to Berlin, and executed several
historical sketches. In 1766 she visited Paris,
and was received a member of the Academy in
1767, as well as of that at Vienna. She returned
to Berlin in 1770, and died in 1782. Among her
best productions are :
Ariadne iu Naxos. (For the Archduke Charles Eugene
of WuHemherg.)
Diana returning from the Chase. (For Frederick the
Greats King of Prussia.)
Her own Portrait. 1773. {Brunswick Gallery.)
A Man holding a Glass of Wine. {Louvre, Faris.)
LISZEWSKA, Anna Rosina, an elder sister of
Anna Dorothea Liszewska, was born at Berlin
in 1716, and was also instructed by her father.
"She was patronized by the Princess of Anbalt-
Zerbst at Stettin, whose portrait she painted when
herself in her fourteentli year. In 1741 she
married the painter David Mathieu, but he died in
1755. After this she painted in the Salon des
Beaut^s at Zerbst forty of the most beautiful
women. In 1760 she married her second husband,
H. von Gaso of Berlin, and in 1764 received a
handsome pension at Brunswick. In 1766 she
travelled in Holland, and was received in 1769 a
member of the Academy at Dresden. She died in
1783. Her best paintings are :
Monime in the act of throwing off the Eoyal Diadem.
{For the Buke of Brunswick.)
Artemisia.
Portrait of a Lady (Signora Branconi ?). 1770. (^Bruns-
wick Gallery.)
LISZEWSKA, Friedbrika Julia, born at Dessau
in 1772, was the pupil of her father, whose name
also is stated to have been Georg Liszewski, and
with whom she came to Berlin in 1792. She
painted the portraits of her father and of the
Turliish Ambassador at Berh'n ; also pictures of
a girl reading, another Icnitting, and a third
holding a pigeon, for the Duke of Mecklenburg-
Schwerin. She was living in 1838.
LISZEWSKA, Julia, who was born m 1724, and
died in 1794, has left some portraits and family
scenes.
LISZEWSKI, Christoph Fribdrich Rbinhold,
the son of Georg Liszewski, and brother of Anna
Dorothea and Anna Rosina Liszewska, was born
at Berlin in 1725, and was probably instructed by
his father. He was court painter at Dessau in
1752, worked at Dresden in 1768, visited Berlin
in 1772, and became in 1779 court painter to the
Duke of Mecklenburg-Schwerin at Ludwigslust,
where he died in 1794. He excelled in por-
traiture, which he liked to represent by candle-
light, and in which branch he was most successful.
Among his best performances may be mentioned
the portrait of Eugene, Prince of Anhalt.
LISZEWSKI, Jbrzy, (or Georg,) wns born at
Olesko in Poland in 1674, and was first in the
employ of Eosander, an architect, wlio, seeing his
talent, set him to study painting. He established
himself in Berlin, and died there in 1750. The
following portraits by him were engraved :
A. de VignoUes, the Mathematician ; hy J. J. Hcdd.
Prince Friedrich August of Anhalt ; by J. M. Berni-
geroth.
Prince Friedrich of Hesse-Oassel ; hy Boshach.
LITHUAED.
VOL. II.
See LiUTHAED.
LITSCHAUER, Karl Joseph, an Austrian
painter, was born at Vienna in 1830. He was first
instructed- by Waldmiiller of that city, but studied
afterwards at the Academy of Diisseldorf under
Tidemand and by himself. After staying some
time in his native city he returned to Diisseldorf,
and became from about the year 1850 a follower
of that school. He died at Diisseldorf in 1871.
His best known works are :
Diisseldorf. Serr \ Scenes from the Thirty Years'
„ Brewer, j "War.
Vienna. Gallery. The Ambuscade.
„ Count Arnim. Scenes from the Thirty Years'
"War.
„ Laboratory. Morning and Night.
LITTEEINI, Agostino, (or Letterini,) was
born at Venice in 1642. He was a pupil of Pietro
della Vecchia. At Vicenza, in the church of San
Geronimo, are two pictures by this artist of 'St.
Joseph' and ' St. John of the Cross.' He was living
in 1727. His daughter, Catahina Litteeini, born
in 1675, was also an artist.
LITTERINI, Baetolommeo, (or Letterini,) was
born at Venice in 1669, and was instructed by his
father, Agostino Litterini. He was a happy imitator
of Titian, and represented Madonnas with exquisite
sweetness. There are works by him in San Pater-
niano at Venice, and in the churcli at Partenkirchen
is an ' Ascension of the Virgin,' dated 1731.
LITTEET de MONTIGNY, Cl.wde Antoine, a
French engraver, was born in Paris in 1735, and
studied under Cars. This artist visited England
about the year 1768, but not meeting with much
encouragement, he returned to France, and died at
Rouen in 1775. He engraved several portraits
and other subjects, among which are :
portraits.
Madame de Pompadour ; after Schennu.
Mademoiselle Clairon, the actress ; after the same.
Jean Jacques Rousseau ; after X>e La Tour.
Pierre Laurent de Belloy ; after his own designs.
M. de Sartine, Lieutenant-General of Police ; after
Vigee.
Antoine de Malvin, Archbishop of Lyons ; after Van
Loo.
Charles Simon Favart ; after Liotard.
VARIOUS SUBJECTS.
Venus sleeping; after St. Quentin.
Diana reposing ; c^ter the same.
l-ove conducted by Fidelity ; after Schenau.
Love distributing his Gifts ; after the same.
Two Views of the Ehine ; after Weir.otter.
The Concert of the Grand Sultan ; after C. van Loo.
LIUTHARD, (or Lithuaed,) a famous minia-
ture painter, flourished in the time of Charles the
Bald, by whose orders in 870 he illustrated with
miniatures the Codex Aureus, which he wrote witli
his brother Berengarius. It was tiansferred in
888 from the Abbey of St. Denis, near I'aris, to St.
Emmeran at Ratisbon, from whence it was removed
in 975, and is now in the Eoyal Library at Munich.
There is also by him a prayer-book of 862-869 in
the Louvre at Paris.
LIVENSZ, Jan, (Libvens, or Lyvens,) a Dutch
painter and engraver, was born at Leyden in
1607. He was instructed in the first rudiments of
design by Joris Verschooten, and at ten years
of age was placed under Pieter Lastman, with
whom he did not continue longer than two years,
and it does not appear that he had any further
instruction. When he was only twelve years old
he copied the pictures of ' Democritus ' and ' Ilera-
clitus,' by Cornelis van Haarlem, with an exactness
65
Liverseege
A BIOGRAPHICAL DICTIONARY OF
Lizars
which made it difficult to distinguish them from
the originals. Before he was eighteen, he liad
established his reputation as a portrait painter, and
his picture of ' Students reading at a Peat Fire '
opened the way to him in 1630 to visit England,
wliere he was favourably received, and painted the
portraits of Charles I. and his queen, with several
of the nobility. On leaving England, he established
himself at Antwerp, and painted several altar-pieces
for the churches of the Low Countries. In 1635
he entered the Grnild of St. Luke, and in 1661 the
' Piotura ' Society at the Hague, whence after a
time he returned to Antwerp, where he was still
living in 1672. He died about that date. The
following are among his best paintings :
Amsterrlam. Museum. Portrait of Joost van den Von-
del, the Poet.
Berlin. Gallery. Portrait of a Boy.
Brunswick. Gallery. The Sacrifice of Abraham.
Leyden. T(yw)i Hall Scipio Africauus.
Munich. Gallery. Two Portraits of Old Men.
Paris. Louvre. The Visitation.
Rotterdam. Museum. St. Peter.
Other portraits by him are at Cassel, Copenhagen,
Dresden, Stuttgart, and Vienna.
Jan Livensz distinguished himself not less as
an engraver than as a painter. His plates are partly
etched, and finished with the graver in a mariner
resembling that of Rembrandt. His prints amount
to about sixty, and are usually signed with his
name, but sometimes with the initials J. L. The
following are his most esteemed prints :
PORTRAITS AND HEADS.
Ephraim Bonus, seated in a chair.
Joost van den Vondel, the Dutch poet.
Daniel Heinsius, Professor of History at Leyden.
Jacobus Gouters, musician.
The Bust of an old Man, bald, with a long beard.
Bust of a Man with a furred cap ; after Rembrandt.
Several Busts and Studies of Heads, &c.
VARIOUS SUBJECTS.
The Holy Family, with figures kneeling.
The Virgin presenting a Pear to the Infant Jesus.
The Raising of Lazarus ; a grand composition.
St. John the Evangelist.
St. Jerome in a Cell, holding a Crucifix.
St. Francis holding a Skull.
St. Anthony ; one of his early plates.
Mercury and Argus.
An Oriental Figure, with a furred cloak and cap.
Another Oriental Figure, with a gold chain.
The half-length of a Man, with long hair over his
shoulders ; a woodcut.
A Landscape, with three trees ; a woodcut.
LIVERSEEG-E, Henry, a painter of genre sub-
jects, was born at Manchester in 1803. From his
birth he was weak, and deformed in his person,
and being neglected by his father, he owed his
edncation to an uncle, who watched over him with
great care and tenderness. It is not said by whom
he was instructed in art, but his first attempts were
in portraiture. His touchy sensibility, however, is
said to have prevented success in that line. Being
enamoured of the works of Shakespeare and Sir
Walter Scott, he turned from the real to embody
the ideal characters in the writings of those
authors, and produced a series of pictures of the
dramatic kind, which brought him both money
and reputation. Among these personifications of
imaginary characters were Adam Woodcock, from
Scott's romance of ' The Abbot,' in which he hap-
pily depicted the ridiculous part in that good-
humoured worthy ; ' Isabella and the Recluse,'
from 'The Black Dwarf: and 'Edie Ochiltree
66
and Sir Arthur Wardour,' from ' The Aniiquary.'
To these followed 'The Inquiry,' a scene of quiet
humour, representing a country lad inquiring his
way from a burly-looking porter at the door of
a mansion. 'The Cobbler ' is of the same stamp ;
he is reading Cobbett's Register, and spelling his
way with a look of pondering sagacity. ' I'ercie
Shafton and Mysie Happer' is another of liia^
happy delineations. In 1827 he came up. to
London, and in the following year exhibited at the
Koyal Academy, ' Wildrake presenting Colonel
Everard's Challenge to Charles II.' After this he
used to spend three or four montlis occasionally in
this city, studying at the British Museum and the
British Institution, and continuing to exhibit both
here and at Manchester. The weakness of his
frame sank under the activity of his imagination ;
his life was a continued disease, and it was scarcely
a surprise to his friends when he expired suddenly
at Manchester in the year 1832. As an artist his
power lay in delineation of character ; and he has
left it doubtful whether he was most successful
in the serious or the humorous. He is excellent
in both. His works were published in mezzotint,
under the title ' Recollections of Liverseege/ in
1832-35.
LIVESAY, RiCHAED, a portrait painter and en-
graver, was bom about the middle of the 18th cen-
tury, and about 1781 lodged with Hogarth's widow
in Leicester Fields. He was a pupil and assistant
of Benjamin West. Settling at Windsor, he was
patronized by George III., to whose family he
taught drawing. Afterwards he removed to Port-
sea, on being appointed drawing-master to the
Royal Naval College. Some of Hogarth's and of
his own works were engraved by him. He died at
Southsea in 1823. There are by him :
Portrait of James, first Earl of Charlemont. {National
Portrait Gallery^
Review of Troops by George III. (JIa' field Housed
LIVIN, Menus, a Florentine painter of Dutch
origin, was born at Amsterdam in 1630. He went
to Milan and then to Rome, where he met with a
gentleman who took him to "Vienna. There he
found a powerful pation in Prince Matthias of
Tuscany, who placed him with Pietro da Cortona
at Florence. From thence he ran away and joined
the players of the Duke of Savoy, but after three
years he returned to painting, and meeting again
with Prince Matthias, he joined Stefano della
Bella. His chief works were a picture of the
' Sacrifice of Abraham,' and the decoration of tlie
cupola of the church of La Pace at Florenc ■.
He was also an engraver. He died at Florence in
1691.
LIVIUS, Cruyl. See Levyn.
LIVIZZANI, Giovanni Battista, was an Italian
painter and poet, who lived in the first part of the
17th century. Some of his pictures have been en-
graved, but he gained more distinction with the
pen than with the brush.
LIZARS, William Home, a Scottish subject
painter and engraver, was born at Edinburgh in
1788. He received instruction from his father,
an engraver, and also in the Trustees' Academy.
His reputation was made by his ' Scotch Wedding'
and ' Reading the Will,' exhibited at the Royal
Academy in 1812, and which are now in the
National Gallery of Scotland. The death of his
father, however, compelled him to devote the re-
mainder of his life to the engraving and printing
business. He died at Edinburgh in 1869.
Llamas
PAINTERS AND ENGRAVERS.
liochner
LLAMAS, FuANCisco, was a Spanish painter
who lived at Madrid in 1700. He was a pupil of
Giordano, whose style he adopted. On the ceilings
of the halls which separated the two cloisters of
the College of Monks in the Escorial, he repre-
sented 'The Trinity,' 'The Creation,' 'The chief
Doctors of the Church,' 'The chief Philosophers,'
'The Sciences,' 'The Virtues,' 'The Elements,'
and several other subjects. He also decorated
the Cathedral of Avila, and the Hermitage of
our Lady of Prado, near Talavera de la Reyna.
LLANOS Y VALDIS, Sebastian de, a painter of
Seville, was born at Granada about 1602. He was
a pupil of Herrera the elder, and worked chiefly
for private and lay patrons. In 1660 he actively
supported Murillo in founding the Academy of
Painting at Seville, afterwards making frequent
donations of oil and other materials for the use of
the students. He was thrice chosen president of
the Academy, in 1066 and the two following years.
It is probable that he died about 1668. Cean
Berniudez mentions only two of his works, a
' Virgin of the Rosary, adored by Angels and
Neophytes,' in the College of St. Thomas at
Seville, and a ' Magdalene ' in the Recollet Convent
at Madrid. Llanos is chiefly remarkable for hav-
ing remained under the despotic Herrera longer
than any other of his scholars, and for having been
wounded in a duel by Alonso Cano.
LLANTA, Jacques FRANgois Gaudebiqub, a
French lithographer, was born at Perpignan in
1807, and died in 1866. He was a pupil of Gros,
and occasionally painted in oil. Among his litho-
graphs is a portrait of the Duke of Orleans, Regent
of France, after Santerre.
LLERA ZAMBRANO, Alonso de, a native of
Cadiz, flourished iti that city as a painter of banners
for the royal navy, and executed, in 1639, altar-
pieces for the oratories of four galleons despatched
in that year to New Spain.
LLORENS, Cristobal, was a painter of good
repute, who lived in Valencia about 1597. He
painted the histories of St. Mary Magdalene and
St. Sebastian, which long adorned their altars in
the conventual church of San Miguel de las Reyes.
It is uncertain whether these or any of his works
exist.
LLORENTE, Bernardo German. See German
Lloren'ie.
LLOYD, Mary. See Moser.
LOARTE, Alexandro, was a painter of Toledo,
and disciple of El Greco. Cean Bermudez praises
his works for their correct drawing and a Venetian
cast of colour, mentioning a large composition of
the ' Miracle of the Loaves and Fishes,' painted in
1622 for the Mission Friars of Toledo ; a liunting-
piece of the next year ; and a picture of ' Hens
and Chickens,' painted in 1626.
LOAYSA Y GIRON, Juan de, was a Spanish
painter and archsologist, who lived at Seville in
1669. He painted with taste, and was canon of
the cathedral, and one of the founders of the
Academy of Seville.
LOBIN, JunEN Li^oroLD, a French histoi-ioal
painter, was born at Loches in 1814. He studied
under Steuben and Hippolyte Plandrin, and became
director of the manufactory of stained glass at
Tours, whtre he died in 1864.
LOCA, BaTtista, according to Dominici, was a
Neapolitan painter, who flourished about the year
1540. He was first a scholar of Giovanni Antonio
dAmato the elder, but afterwards studied the
F 2
works of Andrea da Salerno, and became a histori-
cal painter of some reputation. In the church of 11
Spirito Santo, at Naples, is a picture by this master,
representing the ' Conversion of St. Paul,' painted
in 1543.
LOCATELLI, Andrea, (or Luca'jelli,) was born
at Rome in 1660, and studied under Paolo Ancsi.
He painted landscapes, architectural pieces, and
some historical subjects, and had also an especial
talent in representing ' barabocciate.' There is by
him at Paris, in- the Louvre, a ' Landscape, with
Shepherds ' ; other works are at Augsburg, Cassel,
and Stockholm. Joseph Vernet was instructed by
him. He died in 1741.
LOCATELLI, Antonio, an Italian engraver, born
at Alvisopoli, near Venice, about 1800, was a pupil
of RafEaello Morghen and Longhi at the Academy
of Milan. Among his plates are :
Mater Dolorosa ; after Palagi. 1819.
Daniel in the Den of Lious ; after Subens. 1833.
Portrait of Giuseppe Parini ; after AlhertoUi.
Portrait of Carlo Goldoni.
LOCATELLI, Giaoomo, (or Lucatelli,) an
Italian painter, was born at Verona in 1580. He
studied at Bologna under Guido and Albaiii.
Among his works are two pictures in the church
of San Fermo Maggiore at Verona. He died in
1628.
LOCATELLI, Maria Cattarina, (or Lucatelli,)
a native of Bologna, was a pupil of Pasinelli. She
painted historical pictures, and in the church of
the Madonna di S. Columbano is a picture of ' St.
Anthony and St. Theresa.' She died in 1723.
LOCATELLI, Pietro, (or Lucatelli,) an Italian
painter, was born near Rome about 1630. He was
a pupil of Ciro Ferri, or Pietro da Cortona, and his
pictures in the church of Sant' Agostino and the
Colonna Palace show boldness and freedom of
colouring. At Siena are a ' Beato Galgano ' at the
church of San Francesco, and an 'Assumption' at
the hospital of Santa Maria della Soala. He was
living in 1690, and died at Rome in the depth of
poverty and wretchedness.
LOCHE, Btienne, a French painter and litho-
grapher, was born at Nimes in 1786. He was a
pupil of David and of Baron Gros, and he litho
griiphed several drawings by Girodet.
LOCHEM, B. van, was a Dutch engraver, who
flourished at Amsterdam from about 1605 to 1635..
There are a considerable number of his plates,
which are partly in the style of Virgil Solis, and
partly in that of Wierix, as ' Christ on the Cross.'
There is a set of plates of ornaments for gold-
smiths, after Tangen, engraved by him conjointly
with Hendrik Janssens. He also engraved a set of
small plates of hunting scenes, which^ from their
shape, appear to have been intended for fans.
LOCHER, N., a painter and engraver, was
bom at Freiburg in Switzerland in 1770. He
painted pictures in the style of Teniers.
LOCHNEB, Stephan, (or Loethbnbr,) called
Meister S'ibphan, a painter of the school of
Cologne, was born at Constance in the early
years of the 15th century. In 1442 he was
living at Cologne ; and in 1448 he represented
the Guild of St. Luke in that city as a member of
the Senate. Again in 1451 he occupied the same
post of honour, but died poor and neglected in the
same year. His most famous picture is the ' Dom-
Bild,' or altar-piece, in the choir of the cathedral
at Cologne, painted soon after 1426. It is a tiip-
tych, containing on the outside an 'Annunciation,'
67
Lochom
A BIOGRAPHICAL DICTIONAEY OF
Xiodge
and within an 'Adoration of the Magi'; on one
wing are ' St. Gereon and his Knights,' on the other
' St. Ursula and her Virgins.' The figures are all
painted on a gold background, and the green fore-
ground with its many flowers seems to anticipate
the rich colours of the oil-painters of Flanders. It
was originally done for the chapel of the Town
Hall, and is attributed to his latest and maturest
period. Another great work of this master is ' The
Madonna of the Rose-Arbour,' in the Cologne
Museum, attributed to his earliest period. Amongst
his principal works are :
Berlin. Gallery. Adoration of the Cross.
„ „ Adoration of the Magi.
J, „ St. Ambrose and others.
„ „ St. Mark and others,
" "^"^pS^T^ } ^'"^Sin and Child.
Darmstadt. Gallery. Presentation in the Temple. 1447.
Frankfort. iStadel Inst. Two series of small works relating
to the Martyrdom of the
Apostles. (Doubtful.)
London, iVat. Gallery. Three Saints (Matthew, Catharine
of Alexandria, and John the
Evangelist).
Munich. Gallery. Figures of Saints.
„ „ The Annunciation,
„ „ The "Visitation.
„ „ The Nativity.
„ „ Adoration of the Magi.
LOCHOM, Hans van, a Flemish engraver, pro-
bably the father of Michiel van Lochom, was born
at Antwerp about 1650. He engraved in the style
of Van den Broeck, and among his plates are ' The
Last Supper,' after that master, and ' The Repent-
ance of Peter,' after M. De Vos.
LOCHOM, Michiel van, was a Dutch engraver,
who resided in Paris about the year 1635. Accord-
ing to Basan, he engraved several plates for Crispyn
van de Passe, whose style he attempted to imitate,
but with little success. He appears to have been
chiefly employed by the booksellers, and worked
entirely with the graver. One of his best prints is
a frontispiece to the 'Life of Louis XIII.,' with a
portrait of that monarch on horseback, with- several
small figures. He engraved several portraits for
the works of Hippocrates, published at Paris in
1639 ; and others after Ferdinand EUe. He also
engraved the plates for Girard's ' Peintures sacrees
de la Bible,' published in folio at Paris in 1656.
LOCHON, EbniS, a French line engraver, was born
at Boissy about the year 1632. He resided in Paris,
where he engraved some historical subjects and
several portraits, in which he seems to have imi-
tated the style of Nanteuil. He died in Paris
about 1675. Among other plates, the following
are by him :
portraits.
Charles de Bourbon, Bishop of Soissons. 1657.
Bustache de Lesseville, Bishop of Coutances. 1661.
F61ix Vialart, Bishop of Chlllons.
Balthasar Ph6Iypeaux de La Vrilliere. 1667.
JSrome Bignon.
Louis de Marillao, Doctor of the Sorbonne.
Hardouiu de P^r^fixe, Archbishop of Paris; after
Philippe de Champaicjne.
Antoine Arnauld, Priest of the Oratory ; after the same.
SUBJECTS.
Christ bearing the Cross ; after Carracci,
The Virgin and Infant, with St. John ; after JV. Coypel.
LOCK, William, an amateur painter, was born
aljout 1767 at Norbury Park, Surrey. His father
68
was distinguished as a collector, and an associate of
artists, and he himself painted several allegorical
subjects, of which the best known is the ' Death of
Wolsey,' which has been engraved. Fuseli dedi-
cated to him his ' Lectures on Painting.'
LOCKE, William, was an English portrait
painter, who lived in London about 1750.
LOCKEY, Nicholas, was an English portrait
painter, who practised at the end of the 16th and
beginning of the 17th centuries. He painted a
portrait of John King, Bishop of London.
LOCKEY, Rowland, was an English portrait
painter, who practised in the latter half of the 16th
century, and was a pupil of Hilliard. He is reputed
to have painted a picture containing portraits of Sir
Thomas More, his son and his wife, and all their
lineal heirs.
LOCKLBY, David, was an English engraver,
who flourished about the year 1719. Among other
prints, he engraved «, large plate representmg a
view of the New Church in the Strand ; and his
name is affixed to a portrait of Michael Malard.
LODE, Gdstav de, was a painter and engraver,
who flourished at Viborg from 1730 to 1737. He
painted historical pieces and portraits.
LODE, Odoabd Helmont db, was a Danish
engraver, who lived at Copenhagen in the middle
of the 18th century. He died in 1757. Among his
engravings are :
Portrait of Christian IV. of Denmark; after G. van
Mander.
Portrait of Frederick III. ; after the same.
Portrait of Count Moltke ; after G. G. Pilo.
Nikola] Brorson ; after Erichsen.
L5DEL, Heinrich, who was born at Hameln in
1798, was first a bookbinder, but afterwards an en-
graver both on wood and metal. He established
himself at Gottingen in 1819, and died there in
1861. He executed several beautiful wood-cuts
and engravings, among which are :
A Scene in a Public-house ; after Jan Steen ; an en-
graving.
Christmas Eve ; after H. Sess ; a woodcut.
Extreme Unction ; after Seitz ; a woodcut.
The Nymphs of the Danube; afUr J. Schnorr ; a
woodcut.
The Initials of Liitzelburger, with the Dance of Death
and the Alphabetum Mortis, 1849 ; woodcuts.
The Facsimiles of the woodcuts of Hans Wecbtlin.
LODEB, Astolf, was a German painter, born
at Frankfort in 1721, who, according to Basan,
etched several plates after his own compositions.
He was living about 1760.
LODER, Matthaus, an Austrian painter, was
born at Vienna in 1781, and studied at the
Academy of that city under Maurer, Braun,
Lampi, and Fuger. He first drew flowers and
architecture, and afterwards painted history, land-
scapes, and portraits. He became drawing-
master to the Archduchess Maria Louisa at
Parma, was received a member of that Academy
in 1816, and subsequently appointed painter to
the Archduke Johann. His best work is the
painting of the Crucifix on the Erzberg. He
died at Brandhofe in Styria, in 1828.
LODGE, John, was an engraver, who practised
in the latter part of the 18th century. He died
in 1796.
LODGE, William, the son of a wealthy mer-
chant, who left him a handsome patrimony, was
born at Leeds in 1649. From school he was sent to
Jesus College, Cambridge, and he was afterwards
Lodi
PAINTERS AND ENGRAVERS.
Loggan
a student of law at Lincoln's Inn ; but being dis-
posed to more pleasurable studies, lie attended Lord
Fauconberg in his embassy to Venice, where meet-
ing with Giacomo Barri's ' Viaggio Pittoresco,' in
which the principal pictures in Italy are particular-
ized, with an account of the celebrated collection of
the Canone Settala at Milan, he translated it into
English, and published it in 1679, with heads of
the most eminent painters, and a map of Italy,
etched by himself. During his travels he drew
various views, which he afterwards etched. On
his return to England, he assisted Dr. Lister in
drawing rare shells and fossils, which were trans-
mitted to the Royal Society, and are inserted in
their 'Transactions.' He died at Leeds in 1689.
Besides those above mentioned, Lodge's works
include :
The Pont du Gard,iu Languedoc ; with cipher ^^^Jf,
View of Gaeta, with the Mole and Plancus's Tomb.
Pozzuoli, Oaracalla's Mole, Baise, &c.
Biiins of the Amphitheatre and Aqueduct at Mintur-
num.
Promontory of Circe, Temple of the San, &c.
Lambeth Palace, from the Thames.
■Westminster Hall and the Abbey.
The Monument.
SheriSE Hutton Castle.
Clifford's Tower.
View of York.
Leeds, with Views of Kirkstall and Fountains Abbeys.
Portrait of Oliver Cromwell, and his Page.
Portrait of Samuel Malines ; aft&r Claret,
LODI, Albertino de, was a painter of the
Milanese school, who lived about 1640. He worked
at the court of Francesco Sforza, Duke of Milan.
LODI, Callisto da. See Piazza,
LODI, Ermbnegildo, an Italian painter, was a
native of Cremona, who flourished about 1616. He
was a pupil of Giovanni Battista Trotti, whose style
he followed. He had a brother, Manfkedi Lodi,
who was also a painter.
LODI, Giovanni da. See Della Chiese.
LOEMANS, Arnold, was a Flemish engraver
and printseller, who resided at Antwerp about the
year 1690, He engraved a few plates after the
Flemish masters, and some portraits, among which
is that of Jacques Callot.
LOEMBBRG, Lorenz, was a native of Sweden,
who painted historical pictures and decorations.
He went at the end of the last century to Ham-
burg, where he resided for several years, but he
eventually returned to his own country, and died
about 1810.
LOESCHER, Andreas, a portrait painter, was
born at Scharfenstein in Saxony in 1693. He
worked for some time at Rome and Venice, but
afterwards settled at Augsburg, where he died in
1762.
LOBTHENER, Stephan. See Lochner.
LOFFLER, August, a Bavarian landscape painter
and engraver, was bom at Munich in 1822. He
was first instructed by Heinrioh Adam, but he
afterwards imitated Rottmann. In 1846 he visited
Triest and Upper Italy; in 1849 the East, especially
Cairo and the Holy Land ; in 1853 Greece ; and
in 1856 Milan and Venice, which countries and
cities he treated with distinction in his paintings.
He died at Munich in 1866. Among his best
landscapes are :
The Cartoon of the Hunt.
( {Far King
Jerusalem. ) Frederick
The Source of the Lykus on Lebanon.") William IV.)
11851.
The Palm Forest of Cairo. {For King William of
Wurteiiiburg.)
The Euins of Jerusalem. {Stuttgart Gallery.)
Delphi.
Damascus.
Bethlehem.
Moses.
The Lord appearing to Elijah.
The Gulf of Navarino.
Lake Gennesareth. 1860.
Athens.
The Road to Eleusis.
The Temple at Baalbec.
Lakes Garda and Kochel. 1861.
Bethany. 1862.
Jerusalem from the Mount of Olives. 1863.
Four large Forest Landscapes for Bad Kochel.
Among his etchings may be mentioned two views
of Athens.
LOFVERS, Hbndeick, the son of Pieter Lofvers,
was born in 1739, and was instructed by his father.
He painted marine subjects, fruit, and flowers,
and died at Groningen in 1805.
LOFVERS, Pieter, born at Groningen in 1710,
was a scholar of J. A. Wassenburg, and painted
sea views with great ability. His pictures were
formerly in great request in England, France, and
Hamburg. He died in 1788.
LOGGAN, David, was bom at Dantsio about
the year 1630. He is said to have received his
instruction in engraving from Simon van de Passe,
in Denmark, and afterwards passing through Hol-
land, he studied under Hendrik Hond, and came
to England before the Restoration. He was first
employed in engraving views of the public build-
ings of the University of Oxford, which were pub-
lished in 1675, in a folio volume, under the title
of ' Oxonia Illustrata,' and comprised forty-four
plates. He also engraved and published a similar
volume for Cambridge (' Cantabrigia Illustrata ') in
1688, comprising thirty plates. He executed also
a set of eleven plates, entitled, ' Habitus Academi-
corura Oxoniffi a Doctore usque ad Servientem,'
which form a distinct series from the plates of cos-
tumes engraved in the ' Oxonia Illustrata.' He died
in London in 1693. There are a great number of
portraits by him, which are esteemed his best
works. They are generally executed with the
graver in a neat but formal style, and signed
2>. L. The following are the principal :
Charles I., on horseback.
Queen Henrietta Maria.
Charles IL ; four plates.
Queen Catharine of Braganza.
James, Duke of York.
George Monck, Duke of Albemarle.
Sir Edward Coke, Lord Chief Justice.
Edward Hyde, Earl of Clarendon.
James Stanley, Earl of Derby.
Lord-Keeper Guilford.
James, Duke of Monmouth.
James, Duke of Ormond.
Nathaniel, Lord Crew, Bishop of Durham.
William Sanoroft, Archbishop of Canterbury.
Sir Henry Pope Blount.
John Pearson, Bishop of Chester.
Sir George Wharton.
George, Prince of Denmark.
Mother Louse, of Louse-Hall ; one of his earliest prints.
John Sparrow.
William Hickes.
Peter Mews.
Thomas Isham.
Robert Stafford.
Archibald, Earl of Argyll.
Isaac Barrow.
Edward Reynolds, Bishop of Norwich.
James Ussher, Archbishop of Armagh.
69
Loh.de
A BIOGRAPHICAL DICTIONARY OF
IjOiuazzo
Peter Gunuiug, ]2ishop of Ely.
Pope Innocent XI.
John Lake, Bishop of Chichester.
Thomas Fuller.
William Laud, Archbishop of Canterbury.
Loggan was also very successful in portraits
drawn with the pencil, and he has left two painted
in oil — Gilbert Sheldon, Archbishop of Canter-
bury, and Peter Mew, Bishop of Bath and Wells.
LOHDE, Max, was horn at Berlin in 1845, and
was early made acquainted with classical beauty
by his father, who was a connoisseur. He studied
painting under Julius Schnorr at Dresden, and
Cornelius, but he afterwards attended the Academy
at Berlin, and obtained a prize in 1866 with the
' Bride of Messina.' Subsequently he travelled in
Silesia, and devoted himself especially to sgraffito
painting. He succeeded in inventing a new metliod
of hardening the chalk, and imparting increased
warmth to the colours. He earned great applause
with the four wall-paintings on the staircase of the
Sophia Gymnasium at Berlin ; they represent the
Rape of Helen,' the 'Return of Helen,' the
' Return of Agamemnon,' and the ' Arrival Home
of Ulysses.' He died at Naples in 1868.
LOIR, Alexis, the younger brother of Nicolas
Loir, was born in Paris in 1640. He was brought
up to his father's profession of a goldsmith, to
which he added that of an engraver, in which he
became eminent. He became a member of the
Academy at Paris in 1678, and died there in 1713.
He etched several plates from his brother's designs.
The following are esteemed his best works :
The Education of Marie de' Medici ; after Ruhens.
(Luxembourg Gallery.)
Time disooveriag Truth ; after the same. (The same.)
Magnificat ; after Guido.
The Fall of the Rebel Angels ; after Le Brun.
The Massacre of the Innocents ; after the same.
The Dead Christ in the lap of the Virgin ; after
Miynard.
The Finding of Moses ; after JV. Foussin.
Venus giving Arms to -tineas ; after the same.
The Adoration of the Kings ; after Jouvenet.
The Presentation in the Temple ; after the same.
The Descent from the Cross ; after the same.
The Virgin with the Infant sleeping ; after N. Loir.
The Holy Family ; after the same.
. Mary Magdalene praying ; after the same.
Portrait of Jean Mabillon; after Salle.
LOIR, Nicolas, a French painter and etcher,
was born in Paris in 1624. He was the son of a
goldsmith, who, perceiving his inclination for
painting, placed him under the tuition of S^bastien
Bourdon and Le Brun, with whom he studied
until he was twenty-three years of age, when he
travelled to Roine. In that city he passed two
years, and being in easy circumstances, he occu-
pied his time in contemplating, rather than in
copying, (he works of the principal masters ; and
lie possessed so retentive a memory, that on return-
ing to his apartment, he could trace sketches of the
pictures which had most attracted bis attention.
The woi-ks of Nicolas Poussin were the objects of
his particular admiration, and his best pictures
are those of an easel size, painted in the style of
that master. On his return to Paris he met with
immediate employment, and was engagefj in
several considerable works for Loiiis XIV., in the
palace of the Tuileries and at Versailles. In 1663
he was made a member of the Academy at Paris,
and painted for his picture of reception 'The Pro-
gress of Painting and Sculpture.' In the church
of St. Barthelemy is one of his best public works,
70
representing the 'Marriage of St. Catharine.' He
died in Paris in 1679. Many French and Dutch
artists have engraved after him. He has also left
a great number of etchings from his own designs ;
they are slightly but spiritedly executed, in the
style of a painter. They amount to one hundred
and thirteen, and are described in Robert-Dumes-
nil's ' Peintre-Graveur Fran^ais,' vol. 3. They are
signed N. L. I. F. or N. L., and among them are
the following :
Set of Twelve subjects, the Virgin and Holy Families.
The Infant Jesus embracing the Gross.
The Judgment of Paris. -
Apollo and Daphne.
Cleobis and Biton drawing the Chariot of their Mother
to the Temple of Juno.
Two large Landscapes.
LOISEL, — , a French engraver, resided at Paris
about the year 1645. He executed part of tlie
plates for the folio volume of plans and views
published by Beaulieu.
LOISY, Jean db, a son of Pierre de Loisy the
elder, was born at Besanyon in 1603. He engraved
'Les Portraits des S. S. Vertus de la Vierge con-
templees par feue S. A. S. M. Isabelle Claire
Eugenie, Infante d'Espagne,' published in 1635.
LOISY, PlEBRE DE, the elder, a French en-
graver, was born at Besanjon, and flourished in
the early part of the 17th century.
LOISY, Pierre db, the younger, a son or
nephew of Jean de Loisy, was born at Besan5on
about 1630. Among his works are several religious
subjects, the portrait of Philip IV., King of Spain,
and others.
LOLI, Lorenzo, a painter and engraver, was
born at Bologna in 1612, and died in 1691. He
is sometimes called ' Lorenzino del Signer Guido,'
from his having been a favourite disciple of that
master. He painted some pictures forthe churches
at Bologna, of which the most admired is the ' St.
Anthony of Padua,' in Santa Caterina di Strada
Maggiore. There are by this artist several etchings
after Guido and Sirani, whose school he also at-
tended, as well as from his own designs. He
sometimes signed his prints with his name, and
sometimes Z. LL. F., Lo. 'F., Laur. Lol, &c.
The following are his best prints :
The Flight into Egypt ; after Guido Bern.
The Holy Family, with St. John, in which St. Joseph is
leaning on a Pedestal ; afte^- the same.
The Holy Family, with St. Elizabeth and St. John ;
after G. A. Sirani.
The Virgin with the Infant, to whom an Angel presents
a Basket of Flowers ; after the same.
The Assumption of the Virgin ; after the same.
St. Jerome ; after the same.
The Virgin with the Infant sleeping ; after Elisahelta
Sirani.
Mary Magdalene, with a Crucifix ; after his own design.
The Virgin appearing to St. Francis and St. Angustine ;
after the same.
Fame flying over a Globe ; after G. A. Sirani.
Perseus and Andromeda ; after the same.
Cupid breaking his Bow ; after his own design.
Infant Bacchanalians ; after the same.
A similar subject ; after the same.
LOLMO, Giovanni Paolo, (or Ldlmo,) was bom
at Bergamo, and died about 1695. In the church
of Santa Maria Maggiore at Bergamo is a picture
of ' St. Sebastian and St. Roch,' painted in 1587,
and in the Berlin Gallery is a 'Madonna.'
LOMAZZO, Giovanni Paolo, a painter and writer
on art, was born at Mi'an in 1538, and was a scholar
of Gaudenzio Ferrari, and Giovanni Battista della
.liombard
TAINTEBS AND ENGRAVERS.
Londerseel
Cerva. Of his works as a painter little is known ;
and it is probable he did not paint much, as he
became blind when he was thirty-three years old,
and was chiefly occupied as an author on various
subjects. In 1584 was published at Milan his
' Trattato dell' Arte della Pittura, Scultura, ed Archi-
tettura'; in 1687 his 'Rime'; and in 1590 his
' Idea del Tempio della Pittura.' He died about the
year 1600. The following works by him remain:
Milan. Brera. Portrait of the Painter.
„ Ch. Roechinetti. The History of Melohizedek.
„ Capuchin Conv, A PietEt.
Piacenza. S. AgostiTio. Several pictures.
LOMBARD, Lambekt. See Susteeman.
LOMBARDELLI. See Della Marca.
LOMBAEDI, Giovanni Domenioo, called Omino,
was born at Lucca in 1682, and was a scholar of
Pietro Paolini, whose style he followed and im-
proved by studying the works of the best Venetian
colourists, and the style of the Carracci. He has
left two laterals in the choir of the Olivetani,
representing ' St. Bernard succouring those afflicted
with the Plague.' There are two other pictures by
hiui in San Romano, painted with such force of
colour and relief, that they approach the best style
of Gueroino. His reputation would have stood
higher if he had always painted with equal care,
and had not degraded his talents by painting
pictures at all prices. He died in 1752.
LOMBARDO, Antonio, was a painter of the Par-
mese school, who flourished at the end of the 17th
century. He is supposed to have been a pupil of
Giovanni Maria Conti, whom he assisted in decor-
ating with frescoes the oratory of Santa Croce at
Parma, and painting several figures in the church
of Sant' Illario.
LOMBART, PiEBBE, a French designer and en-
graver, was born in Paris about 1620. He is said
to have learned the principles of design under
Simon Vouet, but it is not known who instructed
him in engraving. After acquiring some reputa-
tion at Paris he came to England, some time be-
fore the Restoration, as he engraved a portrait of
the Protector ; a frontispiece to Ogilby's ' Virgil,'
published in 1654 ; a title to a small octavo, in
1658 ; and Sir Robert Stapleton's portrait for his
'Juvenal,' before 1660. His latest known work
bears the date 1672, after which he returned to
Paris, and died there in 1681. During his stay in
this country he was chiefly employed by the book-
sellers, for whom he executed a great number of
subjects, as well as portraits, which are his best
works. The following are his principal plates :
POETRAITS.
A set of twelve plates, half-length, two of the Barl of
Arundel and Earl of Pembroke, and ten of Ladies,
called ' The Countesses ' ; after Van Dyck.
Charles I., on horseback; after the sam". After the
death of that monarch, the head of Cromwell was
substituted for that of the King, but the latter was
restored after the ilestoi-ation.
Oliver Cromwell, with his Page ; after Walker.
Robert "Walker, the painter ; after the same.
Sir Samuel Morland ; after Lely.
Anne Hyde, Duchess of York ; after the same.
Brian Walton, Bishop of Chester.
Jeremy Taylor, Bishop of Down.
De La Fond, called ' Le Gazetier de HoUande ; ' after
H. Gascard. 1667.
Samuel Malines ; after Claret.
Sir Henry Wootton.
Dr. Charlton.
John Ogill y.
The Emperor Charles V.
Dr. Donne.
■William Caitwright.
Charles Emmanuel II., Duke of Savoy.
1674.
VARIOUS SUBJECTS.
St. Michael vanquishing Satan ; after Eapliael.
The Virgin and Infant Jesus ; after Annihale Carracci.
The Nativity, or Adoration of the Shepherds ; after N.
Foussin.
The Last Supper ; after the same.
The Angel appearing to St. Joseph ; after Philippe de
Champaigne.
The Crucifixion ; after the same.
The Holy Family ; after C. Le Feme.
LOMI, Alessandro. See Loni.
LOMI, Aubelio, was born at Pisa in 1556, and
was first a disciple either of his father Giovanni
Battista Lomi, or else of Bronzino, but he afterwards
studied under Lodovico Cardi, called Cigoli, and is
considered as the head of the Pisanese school. His
fresco works in the cathedral at Pisa partake of
the style of both Bronzino and Cigoli. Of his
numerous works in Florence, the most worthy of
notice are his picture of 'St. Anthony of Padua,'
at the Franciscans, and his ' Last Judgment,' in the
church of Santa Maria di Carignano. Less strik-
ingly efEective, but esteemed by tlie Pisanese as
his chef-d'oeuvre, is his ' St. Jerome,' in the church
of the Gampo Santo at Pisa, which is marked with
his initials and the date 1595. He died in 1622.
LOMI, Baccio, was an Italian painter, born at
Pisa, who flourished about 1585. He was a pupil
of Taddeo Zucohero, whose style he followed. His
chief work is an ' Assumption ' in the chapter-
house of the cathedral of Pisa.
LOMI, Obazio. See Gentileschi.
LOMMELIN, Adrien, an engraver, was born at
Amiens about the year 1636, and was instructed in
engraving at A-ntwerp, where he passed the greater
part of his life. He has left plates of a number of
the works of Rubens, but very indifEerently exe-
cuted. The portraits he engraved, after Van Dyck,
however, are not without merit. The following
are his principal plates :
poetbaits after van dyck.
Charles I.
Ferdinand of Austria, Governor of the Low Countries.
Jacob Le Roi, Seigneur of Herbaix.
J. C. de La Faille, Senator of Antwerp.
Alexander de La Faille, Jesuit.
Zegher van Hontsum, Canon of Antwerp.
Adrian Stevens, Ecclesiastic.
J. Malderus, Bishop of Antwerp.
Jan De "Wael, painter, of Antwerp.
Jan Baptist de Bisthoven, Jesuit ; one of his best prints.
SUBJECTS AFTER RUBENS.
Abigail appeasing David with her presents.
The Adoration of the Magi.
The Circumcision.
The Baptism of Christ.
Christ washing the Feet of His Apostles.
Christ appearing to Mary Magdalene.
The Triumph of Charity.
Time discovering Truth.
The Assumption of the Virgin.
St. Cecilia.
The Judgment of Paris.
SUBJECTS APTEE OTHER MASTERS.
Christ taken in the Garden ; after Van Dyck.
The Virgin and Infant, with the Four Doctors of the
Church ; after Diepenheck.
LONARDINO. See Ferrari, Leonardo.
LONDERSEEL, Assuebus van, an engraver
on wood and copper, was born at Amsterdam in
1548, and died after 1699. He executed several
71
liOnderseel
A BIOGRAPHICAL DICTIONARY OF
Longhi
small woodcuts in a very neat style, resembling
that of Virgil Solis, as well as some Bible illustrations
and some small outs for a ' Herbal,' by Matthias de
L'Obel. He also executed the woodcuts for ' The
Voyage and Travels o£ Nicolas de Nicolay into
Turkey,' published at Antwerp in 1576. On copper
he engraved a series of ornaments for jewellers, in
the style of the German Little Masters. He usually
marked his prints with one of these monograms :
LONDEESEEL, Jan van, a Elemish engraver,
was born at Bruges in 1582. There are by this
artist several plates of landscapes, and other sub-
jects, engraved in a stiff, formal style, after Marten
De Vos, Coninxlo, Vinckeboons, Goltzius, and Hen-
drik Arts. His prints are executed with the graver,
and some of them possess considerable merit. He
usually signed them with his name abbreviated,
/. Land, or J. Londer fee. Among others the
following are by him:
faith, Hope, and Charity; represented by allegorical
figures ; from his own designs.
The Five Senses, emblemabically represented ; the same.
A set of Landscapes, with figures ; after J. Savary.
Four Landscapes, with biblical subjects; after G. De
Hondecoeter.
Four Landscapes, with the same ; after G. van Coninxlo.
Kine Landscapes, with the same ; after D. Vinckeboons.
A View of the interior of St. John Lateran ; after
Hendrik Arts.
LONDONIO, Francesco, an Italian -painter and
engraver, was born at Milan in 1723. He was in-
structed by Ferdinando Porta, and at first attempted
historical painting, but abandoned that branch for
landscapes with animals, in which he was much
more successful. His pastoral subjects are highly
esteemed at Milan, Genoa, and Napies, where they
are found in the best collections. He also etched
about seventy plates of landscapes, with figures
and cattle, from his own designs, having been in-
structed in this branch by Benigno Bossi. They
are executed in a spirited style, though his fidelity
to nature seems to have led him to a selection of
the ugliest objects. In the Brera at Milan are five
examples of his art. He died in 1783.
LONG, John St. John, an engraver, was born
in Ireland in 1797. He received some assistance
from John Martin, and acted as an assistant to
Ottley. He then took to painting, iind in 1825
exhibited at Suffolk Street ' Elijah comforted by an
Angel,' 'The Temptation,' and 'Abraham enter-
taining an Angel.' His last occupation was that
of quack doctor. He died in London in 1834, and
was buried in Kensal Green Cemetery.
LONGHI, Alessandeo, a Venetian painter and
engraver, born at Venice in 1733, was the son of
Pietro Longhi. He was a scholar of Giuseppe
Nogari, and is chiefly known as a portrait painter.
In 1763 he published a volume of the ' Lives of the
modern Venetian Artists,' with portraits etched by
himself. He etched several other plates of various
subjects. He died in 1813. Among others, there
are the following prints by him :
PORTRAITS OF PAINTERS.
Giacomo Amiconi.
Antonio Balestra.
Sebastiano Kicci.
Giovanni Battista Piazzetta.
Giovanni Battista Tiepolo.
SUBJECTS.
A Venetian Masqnerade.
A Gondolier dancing with a Lady.
72
A Quack Doctor on bis stage.
A Moor beating a Drum.
The Philosopher Pythagoras.
LONGHI, Antonio. See Veneziano.
LONGHI, Barbara, thedaughter of Luca Longhi,
was born at Ravenna in 1552, and was st^l living
in 1619. The Castellani Collection possessed a pic-
ture by her dated 1689. There also exist by her :
Paris. Louwe. Virgin and Child.
Ravenna. Academy. St. Monica.
„ „ St. Judith.
„ „ The Sacristy of San Vitale.
„ „ The Healing of St. Agatha.
I, „ St. Dominick.
„ . „ St. Catharine and St. Agues.
LONGHI, Francesco, the son and scholar of
Luca Longhi, was born in 1544, and died in
1618. He painted history and portraits in the style
of bis father, though greatly inferior to him. One
of bis best pictures is in the church of the Car-
melites at Ravenna. Other werks by him are :
Kavenna. San Vitale. Annunciation,
„ „ Virgin and Saints.
„ S. Gio. Battista. Madonna and Saints.
LONGHI, Giuseppe, an Italian painter, and one
of the most distinguished engravers of recent
times, was born at Monza in 1766. His father
was a silk mercer, and intended his son for the
Church I but, through his own determination,
Giuseppe was finally placed with the FlorenT
tine engraver, Vincenzo Vangelisti, professor in
the Brera at Milan, and the Florentine painter,
Giulio Travallesi. He studied afterwards, for
some time, in Rome, where he became acquainted
with Raffaello Morghen. Longhi soon obtained a
reputation for himself by his print from the ' Genius
of Music,' a picture by Guido, in the Chigi Palace.
After his return to Milan he was chiefly employed
in miniature painting, until he was ordered by
Napoleon to make an engraving from Groa's por-
trait of him. About the same time (1798) he
was appointed to succeed Vangelisti as professor
of engraving in the Academy of the Brera, to
which, during Longhi's professorship, many dis-
tinguished engravers of the present century in
Italy owe their education. Among his principal
works are, ' The Vision of Ezekiel,' ' The Sposalizio,
or Marriage of the Virgin,' and a ' Holy Family,'
all after Raphael ; ' The Entombment,' and ' St.
Jerome,' after D. Crespi ; ' The Reading Magda-
lene,' after Correggio ; ' The Madonna del Lago,'
after Leonardo da Vinci ; ' Galatea,' after Albani ;
and many heads after Rembrandt. It would
occupy too much space to enumerate all the pro-
ductions of Longhi's graver worthy of being
specified. In the fine series of portraits pub-
lished at Milan, under the title ' Vite 6 Ritratti
di Illustri Italiani,' he engraved the portraits of
Napoleon, with tbe iron crown on his head, as
King of Italy ; Michelangelo Buonarroti ; and
Enrico Dandnlo, Doge of Venice: all superb in
execution. But his ' Fasti di Napoleone il Grande '
must not be omitted. This beautiful work, after
the designs of Appiani, was executed in part by
Longhi, and the whole of it, as far as it exists,
under his direction. Six of the plates were en-
graved entirely by him, in what the Italians call
the semilibero manner ; five of them represent
' The Battle of Marengo ' ; tbe sixth, ' Time with
the Pates ' : the rest are by Michele Bisi, Giuseppe
Benagiia, and tbe two brothers Rosaspina, all
worthy disciples of this great master. This work
is especially deserving of notice, as having been
LosgU
TAiNTERs And engravers.
Lonsing
executed at the expense of the Emperor Napoleon.
It is said that, not being completed at the time o£
his abdication, its further progress was forbidden,
and the plates destroyed. He commenced in 1827
the engraving of the ' Last Judgment,' after Michel-
angelo, from a drawing by Minardi, but died with-
out finishing it. The ' Madonna del Velo,' after
Raphael, he also left unfinished, but it was com-
pleted in 1834 by his pupil the Cavaliere Toschi.
Longhi died of apoplexy at Milan in 1831. Among
his other works are :
Bonaparte at Arcole ; after Grot.
The Good Samaritan ; aper Bemtrandt.
The Philosopher ; after the same.
The Old Man ; aft^r the same.
The Laughing Negro ; aftei' the same.
St. Joseph carrying the Infant Jesus ; after Guido Beni.
The Triumph of Scipio ; after Matteini.
The Virgin ; after Carlo tlolci.
The Eepose in Egypt ; after Procaedni.
The Beheading of St. John the Baptist ; after G. Dm.
Louis XIV. ; after Bermc.
Eugene Beauharnais ; after Girard.
Lady Burghersh and Child ; aftfr Sir TJtomas Lawrence.
Pan pursuing Syrinx ; after his own design.
Portraits of Appiani, Washington, Giovanni Longhi,
Carlo Portia, and Francis I. of Austria.
LONGHI, LucA, was born at Ravenna in 1507.
Tliere are several of his historical works in the
churches of Ravenna, Perrara, and Mantua. In
the church of San Benedetto at Perrara is a
picture by him representing the ' Circumcision ' ;
but his principal works. Madonnas with Saints,
are in the churches of San Vitale, Sant' Agata,
and San Domenico at Ravenna. His compositioiis
are generally confined to a few figures, but his
pictures are highly finished, and very agreeably
coloured. He also distinguished himself as a por-
trait painter. He died at Ravenna in 1580. In the
Hermitage at St. Petersburg is a ' St. Catharine,'
and in the Brera at Milan a ' Madonna and Saints.'
LONGHI, PiETEO, a genre painter and engraver,
was born at Venice in 1702, and was instructed by
Antonio Balestra and Giuseppe Maria Crespi. Of
his paintings there are several in the Academy at
Venice, among which is a portrait of the architect
Temanza, and the representation of a tall lady at
her toilet. There is one etching by him, repre-
senting ' Country Girls dancing.' He died in 1762.
Bartolozzi, Cattini, Faldoni, and others, engraved
after his works.
LONGMATE, Barak, an engraver, was bom in
Westminster in 1737. His plates were chiefly
heraldic, and he edited an edition of CoUins's
'Peerage,' 1779-84. He died in 1793.
LONGMATE, Barak, the younger, son of Barak
Longmate, succeeded his father as an engraver.
He was born in 1768, and died in 1836.
LONGRAPF, — , a Dutch engraver, flourished
about the year 1698. He engraved a set of orna-
mental subjects for goldsmiths, which are executed
with the graver in a very neat style.
LONGUEIL, Joseph de, an engraver, was born
at Givet in 1736. He was instructed in engraving
at Lille, and studied afterwards under Le Bas and
Aliamet in Paris. He died in Paris in 1792. He
engraved several vignettes for the ' Henriade ' of
Voltaire and the ' Contes ' of La Fontaine. His
talents were not confined to book-plates ; he exe-
cuted some subjects after various masters, among
whicli are the following :
Two Allegorical Subjects ; after Cochin.
Heroic Fidelity ; after Moreau.
Two Ilural Subieots ; after Li^icii and Aviry.
A pair of Dutch Merry-makings ; after Ostade.
The Fishermen ; after Vemet.
View in the Environs of Naples ; after Mettai.
A Sea-storm ; after the same.
LONI, Alessandro, (or Lomi,) was bom at
Plorence in 1655, and was a scholar and imitator
of Carlo Dolci. He was chiefly employed in copy-
ing the pictures of his master, which he did with
a precision that renders it difficult to distinguish
them from the originals. He died in 1702.
LONJUMEAU, Pierre Joseph Gaillabd db.
See Gaillabd de Lonjdmeau.
LONS, DiRCK EvERSEN, a Dutch engraver, was
living from 1612 to 1622. He has left an etching
of the ' Holy Family, with St. Elizabeth and St.
John,' after A. van Nieulandt. There are also four
landscapes by him, each having a large windmill.
LONSDALE, James, a portrait painter, was born
in Lancashire in 1777, but came to London at an
early period of his life. He studied under Romney
and at the Royal Academy, and afterwards pur-
chased the house in Berners Street vacated by the
death of Opie, and there he settled for the remainder
of his life. He was one of the founders and chief
supporters of the Society of British Artists, and
exhibited with them almost regularly from 1824 to
1837. He was a man of independent mind and
manners, and perhaps his neglect of the sitaviter in
modo was the reason that his practice was chiefly
confined to male sitters. He had a masculine style
of painting, 'and showed great discrimination of
character in his portraits ; and as he painted some
of the really great men of his time, his pictures are
hkely to be appreciated long after the works of
more fashionable portrait painters are forgotten.
He died in London in 1839. He exhibited at the
Royal Academy in 1818 a painting of ' Talma as
Hamlet' ; and for the Duke of Norfolk he exe-
cuted a historical picture of ' King John signing
Magna Charta.' In the National Portrait Gallery
are portraits of Lord Brougham, Sir Phihp Francis,
Joseph Nollekens, R.A., William Sharp, Abraham
Rees, and Queen Caroline.
LONSING, Feans Jozef, was bom at Brussels
in 1743. He was intended for the*military pro-
fession, and entered as a cadet in one of the Belgian
regiments in the service of Austria, called the
Walloons. Being in garrison at the citadel of
Antwerp he showed a love of art, and under the
patronage of Prince Charles of Lorraine, governor
of the Low Countries, he frequented the academy
which that prince had organized, and in 1759
obtained the principal prize. After this he entered
the school of Martin J. Geeraerts, a distinguished
painter of bas-reliefs, who had been a scholar of
Theobald Michau. In this school, Lonsing made
such progress that Prince Charles and Count de
Cobentzf'l sent him to Italy, with a pension, to
perfect his studies. At Rome he entered the school
of Raphael Mengs, and there made acquaintance
with Sir "William Hamilton, for whom, in 1772,
he engraved several prints for the ' Scholre
Italicae Picture,' among which 'The Hunt of
Meleager,' after Giulio Romano, is noteworthy.
He afterwards pursued his art at Paris, Lyons,
and Bordeaux ; and he died at Leognan, near the
latter city, in 1799, while engaged in painting
the mansion of a rich merchant. His pictures
are chiefly portraits, some of which have been
engraved ; his easel pictures are rare and much
sought after ; the greater part of his works are at
Bordeaux. His general style is a mixture of the
73
Loo
A BIOGRAPHICAL DICTIONARY OF
XiCO
Italian and Flemish, which gives his pictures a
peculiar air, difEering from every other master, yet
reminding the observer of the vi^orks of older date.
In the Museum at Bordeaux are portraits of himself
and the Duke de Duras.
LOO, Charles AuiotE Philippe van, (or Van-
loo,) was bom at Rivoli in Savoy in 1719, and
instructed by his father, Jean Baptiste van Loo.
In 1747 he became a member of the Academy at
Paris, and was afterwards appointed court painter
to the King of Prussia. In 1770 he returned to
Paris, and became professor at the Academy, and
in 1790 rector's adjunct. He died in Paris in
1796. At Potsdam there is a painting by him of
' Psyche watched by Cupid with a Lamp,' an ex-
cellent performance in chiaroscuro. Other pictures
by him are at Sanssouci. His works have been
engraved by Larmessin, Ch6reau, and Petit.
LOO, Chaeles ANDEfi van, (or Vanloo,) usually
known as Carle van Loo, a painter and sculptor,
was born at Nice in 1705. He was a son of Louis
van Loo, and was instructed by his brother, Jean
Baptiste, with whom he went to Rome, where he
studied under Benedetto Luti, and learned sculpture
under Le Gros. In 1719 they returned to Turin,
and thence to Paris, where in 1723 he obtained the
first prize for drawing, and in 1724 the first for
painting, with ' Jacob purifying his House in order
to make a Sacrifice to God.' After having in 1727
again visited Rome, he obtained the first prize for
design at the Academy of St. Litke, and was
knighted by the Pope. After this he returned to
Paris, and became a member of the Academy in
1735, a professor in 1737, director of the Royal
Art School in 1749, knight of the Order of St.
Michael in 1751, rector of the Academy in 1754,
court painter in 1762, and director of the Academy
in 1763. He died of apoplexy in Paris in 1765.
His best works are :
Glasgow. GalUry. Group of four iBgares person-
ifying the Seasons.
Paris. Lov/vre. ^neas carrying his father
Anchises.
„ „ Marriage of the Virgin and St.
Joseph.
„ ' „ Furtrait of Marie Leszczinska,
Queen of France.
„ ,. Iphigenia.
„ „ Marsyas flayed by order of
Apollo,
„ Petits Peres. The History of St. Augustine.
LOO, Ernest van, a Flemish landscape and por-
trait painter, was born in 1825. He studied in the
Academy of Ghent, and was employed on decora-
tive work. He died at Ghent in 1860.
LOO, Feanqgis van, (or Vanloo,) was born at
Aix in 1711. He was a pupil of his father, Jean
Baptiste van Loo, but he died at Turin in 1733
from the efiects of a fall from his horse.
LOO, Jakob van, a portrait painter, was bom at
Sluys in 1614. He was the son of Jan van Loo.
From 1652 to 1660 he was at Amsterdam, and
painted there portruils and figures of a small size for
the landscapes of the elder Wynants and Hobbema.
Subsequently he settled in France, where he was
naturalized, and in 1663 was received into the
Academy upon his portrait of Michel Corneille the
elder, executed in the style of Van Dyck. He died
in Paris in 1670. Among his works are :
Berlin. Gallery. Diana and Nymphs.
Glasgow. Gallery. Susannah and the Elders.
Paris. Louvre. Portrait of Michel Corneille,
the elder.
Petersburg. Ilermitaye. The Concert.
74
LOO, Jan van, born at Loo, near Ghent, about
1585, appears to have been the first artist of this
family. There are by him two paintings in the
Museum at Copenhagen, viz.:
A Company of Drinkers and Gamblers.
A Glass-Bead Manufactory.
LOO, Jean Baptiste van, (or Vanloo,) bom at
Aix, in Provence, in 1684, was first instructed by his
father, Louis van Loo, and at an early age studied
after the antique and the works of the great
masters. He had acquired considerable reputation
by some pictures he painted for the churches and
public edifices at Toulon, when the siege of that
place, in 1707, obliged him to return to Aix. At
Toulon he married Marguerite Le Brun, the sister of
Michel Le Brun, the miniature painter. After this
he visited Nice, Monaco, and Genoa, and then went
to Turin and worked two years for the Duke of
Savoy and the Prince of Carignan. Being patron-
ized by the latter he was enabled to go to Rome,
where he attended the school of Benedetto Luti.
In 1719 he accompanied the prince to Paris, and
in 1737 he came to England, where, according
to Walpole, his first works were the portraits of
Colley Gibber and Owen MacSwinney, whose long
silvery hair was extremely picturesque, and con-
tributed to give the new painter reputation. He
was favoured with the patronage of Sir Robert
Walpole, by whom he was introduced to the Prince
and Princess of Wales, whose portraits he painted.
Van Loo soon bore away the chief business of
London from every other painter. His likenesses
were very striking, though not often flattering.
His draperies and other accessories were usually
painted by Van Aken and Van Loo's scholars,
Eokhardt and Root. He became a member of the
Academy of Paris in 1740. In 1742 he found his
health considerably impaired, and he was advised
to try the effect of the air of his native country,
Provence, where he died at Aix in 1746. His first
paintings are designed with correctness, but the
numerous portraits which he had to execute were
detrimental to his success in historical subjects.
He restored some of the paintings of Giulio Romano
and Primaticcio, and also etched a plate of ' Diana
discovering Endymion in a Forest,' apparently from
his own painting in the Louvre, which formed his
reception piece at the Academy. Among his best
works are :
Brussels. Gallery. Diana and Endymion.
Darmstadt. Gallery, Portraits of Louis XT. of
France, and his Queen, Marie
Leszczinska.
„ „ The Slaughter of Zedekiah's
Children.
P ixis. Louvre. Diana and Endymion.
„ „ Institution of the Order of the
Holy Ghost by Henry III.
Petersburg Hermitaye. The Triumph of Galatea.
Rome. <S. M. delta Scala. The Flagellation.
LOO, Jules C£sar Denis van, (or Vanloo,) a
French landscape painter, the son of Carle van
Loo, was born in Paris in 1743. He became an
academician in 1784, and exhibited at the Salon
from 1785 to 1817. He died in Paris in 1821.
LOO, LoDis VAN, (or Vanloo,) was born at
Amst3rdam about 1641, and was instructed by his
fiither, Jakob -van Loo. He went to France, and
obtained the first prize at the Academy, into which
he would have been admitted had not a duel
Loo
PAINTERS AND ENGEAVEES.
liCpez
compelled him to retire to Nice. He settled at
Aix in 1683, where several frescoes by him are
still to be seen. There is by him at Toulon, in
the chapel of the Black Penitents, one of his best
productions, ' St. Francis.' He died at Nice in
1713.
LOO, Louis Michel van, (or Vanloo,) was bom
at Toulon in 1707, and instructed by his father,
Jean Baptiste van Loo. After having in 1725 ob-
tained the first prize at the Academy with ' Moses
•treading upon Pharaoh' s Crown,' he went to Eoine.
On his return to Paris he became a member of the
Academy in 1733 ; after this he was appointed court
painter to Philip V. of Spain, and received in 1748
the Order of St. Michael. After the death of Philip
lie went to Paris, and was elected director of the
Eoyal School of Arts for tlie Nobility. He died in
Paris in 1771. There is by him in the Louvre,
'Apollo pursuing Daphne ' (1733).
LOO, PiETisR VAN, a Dutch painter of landscapes,-
fruit, and flowers, was born at Haarlem in 1731.
He commenced by painting choice specimens for
the florists of his native city. He died in 1784.
LOOFF, PlETKR, a Dutch engraver, flourished
about the year 1630. He engraved some portraits,
among which is one of A. van den Bremen. He
also executed a print of Frederick Henry, Prince of
Orange, drawn in a triumphal car.
LOON, — VAN, a painter of birds, fruit, and
flowers, was bom at Amsterdam in 1711, and died
in 1787.
LOON, H. VAN, a Flemish engraver, was probably
a relation of Theodorus van Loon. He chiefly
resided in Paris, where he engraved some plates
fbr a work entitled 'Les Forces de I'Europe,' pub-
lished in Paris in 1695. They consist of fortifica-
tions, plans of towns, &c.
LOON, Peter van, a Flemish marine and his-
torical painter, was born at Antwerp in 1600, and
died there in 1660.
LOON, Theodorus van, was born at Louvain
about 1595. It is not said by whom he was in-
structed in his native country, but he went to Italy
when he was young, and at Eome became acquainted
with Carlo Maratti, whose style he particularly
admired, and with whom he lived in habits of
friendship. On his return to Bnissels he painted a
fine picture of the ' Nativity ' for the Abbey of Dil-
linghem, near that city, which gained him great
reputation. He died in 1630. In the church of
St. Gery, at Brussels, there is a series of pictures
of the ' Life and Passion of our Saviour,' which are
much admired ; but his most esteemed performances
are seven pictures of the ' History of the Virgin,'
at Aerschot, near Mechlin, which appear rather
productions of the Eomanthan the Flemish school,
and are entirely in the style of Carlo Maratti. In
the Brussels Gallery is an ' Assumption ' and an
'Adoration of the Shepherds.'
LOOS, — , a flower painter of Hamburg, who
flourished in the first half of the 18th century, and
gained a great reputation. He died in 1760.
LOOS, Fbiedeich, an Austrian landscape painter,
was born at Gratz in 1797, and died in 1856. In
the Vienna Gallery is a landscape by this artist.
LOOSE, Joannes Josephus de. See De Loose.
LOOTEN, Jan, (or Loten,) who was born about
1618, probably at Amsterdam, painted in England
during the reign of Charles II., and died here in
1681. His pictures generally represent rocky and
tliickly-wooded landscapes, and occasionally views
of a quieter character, in which the figures were
sometimes painted by Nioo'nas Berchem. They are
well executed and true to nature, but are somewhat
spoiled by a too dark colouring. The Berlin Gallery
has a 'Landscape with a Stag Hunt,' dated 1659.
In the Cassel Gallery is a ' Hunting Scene ' by him.
Three 'Landscapes' are in the Dresden Gallery;
and the National Gallery contains one— a ' River
Scene,' with figures. Looten's works are also seen
in private galleries in England, notably at Combe
Abbey, Warwickshire, where there are no less than
five. There also exist of his paintings :
Copenhagen. Museum. A Fair ia a Swiss Village.
Rotterdam. Museum. A Forest Landscape. 1858.
Vienna. Liechtenstein Gall. A Landscape. 1673.
LOPEZ, Cristobal, a pupil of A. Sanchez Coello,
became painter to John IIL of Portugal. He
painted many portraits of that prince and his
family, and some good devotional pictures for the
chapel at Belem. He died at Lisbon in 1594.
LOPEZ, Cristobal, son of Josef Lopez of
Seville, painted largely for the South American
market, and left in fresco, in the church of All
Saints, a giant ' St. Christopher ' and a ' Last
Supper.' He died in 1730.
LOPEZ, Diego, a Spanish painter, was born at
Toledo about 1465. He studied under Antonio
del Eincon, and became an excellent painter of
frescoes and historical subjects. Fiom 1495 to
1608 he was engaged in decorating the cathedral
of Toledo, and in 1519, in company with Alonzo
Sanchez, he decorated the theatre of the University
of Alcala de Henares. He died about 1530.
LOPEZ, Francisco, was a scholar of Beoerra,
who painted creditably at Madrid in the reign of
Philip II. (1656-1698).
LOPEZ, Francisco, was a pupil of Bartolommeo
Carducoi, whom he assisted in pictures executed
in 1695 for the church of San Felipe el Real at
Madrid, which was destroyed by fire in 1718. He
was appointed painter in ordinary to Philip III. in
1603, and painted a series representing the victories
of Charles V. in the King's dressing-room at the
Pardo. He also etched the third, sixth, and seventh
plates for Vincenzo Carducci's '.Dialogues on
Painting.'
LOPEZ, Gasp ABO, born at Naples about 1677,
was an excellent painter of flowers, and therefore
called ' Gaspare dei Fiori.' He studied under J. Bap-
tiste Du Buisson, Andrea Belvedere, and at Eonie,
Venice, and Dresden. He settled subsequently at
Florence, where he became court-painter to the
grand-duke. He was murdered there in 1732. In
the Vienna Gallery is a flower-piece by him.
LOPEZ, Jaime, surnamed El Mudo, born at
Madrid, was a Spanish painter, who flourished in
the 15th century. He decorated the Hermitage of
our Lady of Prado.
LOPEZ, JosEP, a painter, bom about 1650 at
Seville, was a disciple of Murillo, who followed
the style of that master, but confined himself
chiefly to painting representations of the Virgin.
A ' St. Philip ' by him is in the convent of La
Merced Calzada at Seville.
LOPEZ, Pedeo, a Spanish painter, was a scholar
of El Greco. He painted, among many others, the
magnificent picture of the ' Adoration of the Kings '
in the convent of the Trinitarians at Toledo ; it bears
his name, and the date 1608.
LOPEZ CABALLERO, Andrea, a Spanish
painter, born in 1647, was a Neapolitan by birth,
but studied at Madrid under Antolinez. He devoted
75
Lopez Caro
A BIOGRAPHICAL DICTIONARY OF
Iiorenzetti
himself chiefly to portrait painting, though in
Madrid is a picture of ' Christ and the Maries.'
LOPEZ CARO, Francisoo, a Spanish painter, was
born at Seville in 1598. He was a pupil of Juan
de Las Roelas, and devoted himself to portrait
painting. He died at Madrid in 1662.
LOPEZ Y PALOMIKO, Feancisoo, was a Spanish
painter, who flourished in the 18th century. He
studied at Madrid, and in 1759 became a member
of the Academy of San Fernando. He excelled
chiefly in portraiture, though he also painted some
genre pictures.
LOPEZ Y PIQUE R, Bbrnakdo, was born at
Valencia in 1801. He was a pupil of his father
Vicente Lopez y Portana, and was distinguished
for his portraits. He died at Madrid in 1874.
LOPEZ Y PORTANA, Vicente, a Spanish
painter, was born at Valencia in 1772. In the
Madrid Gallery is an allegorical picture and several
portraits, among which is that of the painter,
Francisco Goya. He died at Madrid in 1850.
LOPICINO, Giovanni Battista, (or Ldpicini,)
an Italian painter, who flourished at Florence
about 1625, was a pupil of Oigoli. At Pistoja, in
tlie church of Ban Domenichino, are several figures,
and in the Vienna Gallery is a picture representing
' Martha and Mary.'
LOQUEYSSIE, Emilie von, a painter of portraits
and miniatures, was born at Dresden in 1787, and
gained a considerable reputation.
LORCH, Melchiob, (or Lomch, or Lorichs,) a
Danish painter and engraver, was born in 1527 at
Flensburg in Schleswig. He worked first with a
goldsmith at Lubeck, and then set out on his
travels, and visited Germany, the Low Countries,
and Italy. An opportunity of going to Turkey
presenting itself, he availed himself of it, and so
far gained the confidence of the Sultan as to
engrave his portrait. After his return he stayed
some time at Copenhagen, and then visited Con-
stantinople a second time. He was made court-
painter at Copenhagen in 1582. He is said by
some authors to have died at Rome in 1586, but
others state that he was living in 1594. His
woodcuts are executed in a bold, free style ; and
his copper-plates are engraved with great neatness
and delicacy. He sometimes signed his prints
with his name, and sometimes marked them with
the monogram ]fi^[j ., with the date. The fol-
lowing are by him :
COPPER-PLATES.
Portrait of Martin Luther.
Portrait of Albrecht Durer. 1550.
Aristoteles Stagirites Fhilosophus; with the cipher.
1561.
St. Jerome at prayer. 1546.
A "Woman's Head. 1551.
Two Portraits of the Grand Signior and his favourite
Sultana; very scarce.
The Crane. 1549.
The Basilisk. 1548.
Apollo.
Portrait of Angre de Busbec. 1557.
WOODCDTS.
A set of 122 Prints of the Habits, Customs, &o. of the
Turks ; dated from 1570 to 1581.
A Sibyl. 1571.
A woman standing, pressing her breasts, with a variety
of animals below, with au inscription at the top, ffiflSf
Satutni conjui qut Jtlatcc ©torum ; dated 1565.
A Lady in full dress. 1551.
The Deluge ; a large print, in two sheets.
76
LORDON, PiEERB Jer6me, a French painter,
was bom at Guadeloupe in 1780. He was a pupil
of the Polytechnic School, and became a sub-
lieutenant in the Artillery, but abandoned arms
for art. He was a friend of Prud'hon, and became
his most famous pupil. He died in Paris in 1838,
Among his works are :
The Deliverance of Cimon. 1810.
The Expulsion of Hagar. 1812.
Hagar in the Desert. 1814.
The Annunciation.
St. Mark.
Death of Semiramis. {Bijon Museum.)
Henry IV. after the Battle of Courtras.
LORENTE, Felix, was a Spanish painter, bora
at Valencia in 1712, whose best works are to be
found in the churches of that city. He died there
in 1787.
LORENTINO, Agnolo di, called Lobentino pi
Aeezzo, flourished in the 15th century. At Arezzo,
his native town, on the door of the church of San
Domenico, is a ' Madonna and Saints ' by this artist,
LORENTZEN, Christian August, was born at
Sonderborg in Denmark in 1749, and received his
first instruction in art at the Academy of Copen-
hagen. He then travelled through Holland and
France, after which he returned to his own country,
where he gained a considerable reputation, fie
died in 1828.
LORENZ, Friedeich Gottlob, a landscape
painter, born at Dresden in 1722, was a pupil of Louis
de Silvestre and Jobann C. Turner. He died about
1790.
LORENZ, J. D., was a German engraver, who
worked about 1765, and among whose works are :
The Vision of Jacob ; after Bocksberyer,
St. Sebastian ; after Diirer.
The Last Supper ; after Betnlrandt.
LORENZETTI, Ambeogio, was the son of one
Lorenzo of Siena, and the younger brother of
Pietro Lorenzetti, with whom he frequently worked
in concert. The dates of his birth and death are
both uncertain, and the first records known of him
commence in 1323. According to Tizio, his
earliest frescoes were those painted in 1331 in the
cloisters of San Francesco, Siena. Ghiberti very
highly praised them, and when seen by him they
represented the lives and martyrdoms of certain
Franciscan friars ; but their remains, which are now
preserved in one of the chapels of the church,
hardly seem to merit his encomiums. He is
recorded to have executed certain frescoes illus-
trative of the Creed and the Life of St. Catharine,
in the church of Sant' Agostino, Siena, but they
have now almost completely disappeared. In 1335
he went to Cortona, and painted frescoes in the
church of Santa Margherita, which are now lost. On
his return to Siena he painted in the cathedral, and
aided his brother Pietro in the frescoes at the
Spedale. From 1337 to 1339 he was occupied
in decorating the Sala della Pace of the Palazzo
Pubblico, Siena, with three immense frescoes,
which represent allegorically the ' Advantages of
Peace ' and of ' Justice,' and the ' Evils caused by
Tyranny ' (or, as they are often called, ' The Results
of Good and Bad Government '). These paintings
are now damaged by time, especially the one last
named ; but enough remains to fully justify the
praises bestowed upon them by Ghiberti, who saw
,them in their prime. In 1340 Ambrogio completed
for one hundred and thirty-five gold florins an altar-
piece for the cathedral of Siena, called ' La Tavola
Iiorenzetti
PAINTERS AND ENGRAVERS.
Lorenzo
di San Cresoenzo,' which is lost. The last record
known of this artist is a payment made to liim for
work done for the Sala de' Nove in 1345, which has
also disappeared. It is not unlikely that he died
of the plague in 1348, at the age, as stated by
Vasari, of ei2;hty-three. Among extant works by
him are the following:
Florence. Academy, Presentation in the Temple. 1342.
„ „ Two panels with scenes from the
Lives of St. Nicholas and St.
Proculus.
Siena. Academy. Madonna del Donzelli. 1344.
LORENZETTI, Giovanni Battista, a native of
Verona, flourished about 1640. He painted several
frescoes in the churches of Verona.
LORENZETTI, Pietro, called by Vasari Pieteo
Ladkati, whose father's name was Lorenzo, was
born in the latter part of the 13th century, and first
appears as an artist in 1305, when he received one
hundred and ten livres for painting part of an
altar-piece at Siena, called ' La Tavola dei Nove.'
In 1326 he painted an altar-piece for the ' casa
deir opera ' of the cathedral of Siena, where can still
be seen four panels belonging to it, with SS. Mary
Magdalene, Catharine, Francis, and Romualdo. The
church of Sant' Ansano, outside Siena, possesses an
altar-piece with his signature, and the date 1329.
It is a ' Madonna and Child, with four Angels,
between SS. Anthony and Nicholas.' In 1333 he
painted the ' Madonna ' above the new portal of
the catl.edral, which in 1357 had to be restored by
Luca di Tome ; and in 1335 he executed an altar-
piece called ' di San Savino,' for the same building.
In that same year Pietro, in conjunction with his
younger brother Ambrogio, painted the ' Marriage
of the Virgin' on the front of the Spedale of
Siena, which was destroyed in 1720. A long series
of frescoes have recently been rescued from white-
wash in the church of San Francesco in Siena,
which admirably show Pietro's style and finish.
They represent different incidents in the Passion,
from the ' Entry into Jerusalem ' up to the ' Resur-
rection,' also the 'Miracle of the Stigmata of St.
Francis,' and the episode of the ' Death of Judas.'
These frescoes are remarkable for their vigour and
harmony, and show Pietro to have possessed great
talents both as a colourist and a draughtsman.
The Campo Santo, Pisa, contains some frescoes by
him (for some time ascribed to Orcagna), which,
although very considerably damaged by damp and
by time, still show how great his ability as an artist
was. These frescoes illustrate different legends
of the lives of the saints and hermits in the The-
baide, and are admirable in the diversity of their
incidents, and in the truth and force with which
they are depicted. The date of Pietro's death is
uncertain, but it is probable that he died in 1348,
when the plague devastated Italy. Among his
extant works are the following,:
Arezzo. Fieve. The Virgin and Child, with Saints.
Berlin. Gallery. Madonna and Child, with Saints,
and five other examples.
Oortona. S. Marco. A Crucifix.
Floreace. Uffizi. The Thebaide in Egypt.
„ „ Madonna and Saints. 1340.
London. N'at. Gall. A Legendary Subject.
Monte Polciano. Ms- ) Coronation of the Virgm.
encordia. j °
Siena. Academy. Two panels with Scenes from the
Carmelite Annals, and five other
examples.
Rome. Museo Oris- Eight small panels illustrative of
iiano. the Martyrdom of St. Stephen
and other Saints.
LORENZETTI, Sano, or Ansano di Pietro, a
native of Siena, flourished in the 15th century. In
the Palazzo Pubblico are several frescoes by this
artist, representing the ' Coronation of the Virgin,'
and a ' Madonna,' painted in 1459.
LORENZI, Francesco, an Italian painter, was
born at Verona in 1719. He was a pupil of J. B.
Tiepolo. His ' Holy Family ' at Brescia and hia
frescoes at Verona show great sweetness of colour
and outline. He died in 1783.
LORENZI, Lorenzo, an Italian engraver, was a
native of V'olterra, who flourished about 1760. He
was a pupil of Cigna, and engraved part of the
plates from the pictures in the cabinet of the
Marquis Gerini, Among his principal works are :
The Eternal Father between Adam and Eve ; after
Furini.
The Virgin and Child ; after Annilale Carracci.
Landscape ; after Titian.
Psyche and Cupid ; after Manozzi,
LORENZINI, Fra Antonio, or Gianantonio, a
Bolognese painter and engraver, was born in 1666,
and was a scholar of Lorenzo Pasinelli. He is
little known as a painter, as he devoted himself in
the early part of his life entirely to engraving.
In 1699 he was employed at Florence, in conjunc-
tion with Theodor Verkruis, Mogalli, and others,
to engrave the pictures in the gallery of the grand-
duke, sometimes found collected in a single volunio
under the title of ' Gallery of the Grand-Duke of
Tuscany,' in a set containing one hundred and
forty-seven subjects, engraved on one hundred
and sixty-seven plates. He died in 1740. Nag-
ler gives a list of seventy-six engravings by him.
His plates are almost entirely etched, and the
following are the principal :
St. Anthony of Padua working a Miracle ; after Fa-
The Martyrdom of St. Ursula ; after the same.
St. John preaching in the Wilderness ; after the same.
The Ascension ; after L. Can'acci.
The Virgin and Child ; after Agostino Carracci.
St. Dominick taken up into Heaven ; after Guido.
St. Philip Neri kneeling before the Virgin ; after 0,
Maratti.
St. John, surrounded by Angels ; after Correyyio,
The Annunciation ; after Paolo Veronese.
The Baptism of Christ ; after the same.
The Baising of Lazarus ; after the same.
Noah building the Ark ; after Giacomo Bassano.
St. Augustine, with a glory of Angels ; after Tintoretto.
Joseph sold by his Brethren ; after Aiidrea del Sarto.
Joseph governing Egypt ; after the same. ,
David with the Head of Goliath ; after Guercino.
Christ with the Disciples at Emmaus ; after the same.
St. Peter delivered from Prison ; after the same.
The Holy Women at the Sepulchre ; after Fietro da
Cortona.
Venus and Cupid ; after Carlo Cigmini.
LORENZO, Don, called II Monaco, a Camal-
dolese monk of the convent of the Angeli at
Florence, was born about 1370, and probiibly in-
structed by Agnolo Gaddi, though his style re-
sembles that of Spinello Aretino, as well as of Fra
Angelico. His figures are expressive of religious
feeling, but somewhat cold. As a miniaturist he
is most successful in his smaller works. He died
in 1426. His best performances are :
C The Coronation of the Virgin,
I with side pictures of the
Cerreto. Camaldolesej Adoration of the Magi and
Abbey. j of the Shepherds, and scenes
from the life of St. Bernard.
^ 1413.
Certaldo. Sig. Landi. The Coronation of the Virgin ;
of a small size.
77
Lorenzo
Empoli.
A BIOGRAPHICAL DICTIONARY OP
Loth
Florence. Monte Oliveto.
„ *S'. Trinita,
„ UJizi.
„ Academy.
London. Nat. Galleiy.
Paris. Mtisie de Cluny.
„ Louvre.
Church. The Virgin and Child, with
Saints. 1404.
Madonna, with Saints.
The Annnnciation.
Adoration of the Magi.
Christ on the Cross.
The Virgin.
St. John.
The Annunciation.
The Laterals of the 'Corona-
tion of the Virgin 'at Certaldo.
Christ on the Mount of Olives.
The Three Maries at the Sepul-
chre.
St. Lawrence, St. Agnes, and St.
Margaret.
LORENZO, Bicri di. See Bicct.
LORENZO, FxoiiisNzo di. See Fiokenzo.
LORENZO, Francesco, called Lorenzo di
Verona, was born at Verona in 1719. He painted
Mstorieal and allegorical subjects and landscapes.
LORENZO, PiERo DI. See Piero.
LORENZO DEL SiGNOK Gdido. See Loli.
LORENZO DI BICCI. See Bicci.
LORENZO Di NICC0L6. See Geeini.
LORENZO DI PIETRO, called II Vecchietta,
was born at Gastiglione di Valdoroia, in the province
of Siena, about 1412. He was a painter, a gold-
smith, a sculptor, and an architect ; but he did not
succeed well in any one of these branches of art.
Siena possesses in the Palazzo Pubblico and in the
sacristy of the Spedale remains of frescoes by
him, which have been recently freed from a
covering of whitewash. An altar-piece by him is
in the cathedra] of Pienza, and the gallery of the
Uffizi possesses a signed work by his hand. The
dates on Lorenzo di Pietro's paintings extend from
1441 to 1457. He died in 1480.
LORENZO DI VITERBO, was a painter of the
15th century, who executed a famous fresco repre-
senting the ' Marriage of the Virgin,' in a chapel
of the Servite Church at Viterbo.
LORENZO VENEZIANO. See Vbneziano.
LORI, Gabriel. See Lory.
LOKICHS, Melchior. See LoRCH.
LORIONE. This name is affixed to a shght
etching of ruins in a landscape, with several
figures. It appears to be the work of a painter.
LORME. De. See De Lorme.
LOERAIN, Cladde. See Gell^e.
LORRAINE, XTean Baptiste de, a French en-
graver, ujentioned by Basan, was born in Paris in
17^7, and died at the end of the 18th century.
He engraved some plates of portraits, and other
subjects.
LORY, Gabriel, (or LoRi,) a Swiss painter and
engraver, was born at Berne about 1763. He
worked first at Berne, and about 1806 at Herisau,
from whence he went to assist Osterwald in
Neufch§,tel. He died in 1840. He was a superior
landscape painter, and among his productions
are :
Several collections of Swiss Views ; executed in conjunc-
tion with Lafond and Zehnder.
A collection of Russian Views ; executed conjointly with
his son Geoi'g, who was born in 1795.
Eomantic Journeys over the Simplon ; the same.
The Bernese Bathing Girl.
LOSCHER, Andreas, was born at Schafienstein
in Bavaria. He spent some time in Venice and
Rome, and afterwards went to Augsburg, where he
devoted himself to portrait painting. He died in
1762.
. 78
LOSGIil, Bernardino, Ihe son of Jacopo Loschi,
was born at Parma in 1489. He painted an altar-
piece, now in the Gallery of Modena, representing
the ' Virgin and Child, between SS. Anthony and
Nicholas, with four Angels,' signed by him in 1515.
He was also the author of many paintings and
frescoes in the churches and the castle of Carpi,
where he died whilst in the service of Alberto Pio,
in 1540.
LOSCHI, Jacopo, was born at Parma in 1459.
He painted in 1488 a standard and an altar-piece
for San Giovanni, Parma ; and in 1496 he produced
the ' Virgin and Child ' for the Servi at Carpi, a
picture that afterwards became famous for its
miracles, but which has been lost since 1707. The
Gallery of Parma possesses a ' Madonna and Child,'
signed by him in 1471 ; and in the Gall ry at
Modena is a 'Magdalene.' Many of the churches
in that city possess paintings by him and by h's
f atCer-in-law, Bartolommeo Grossi. Loschi died at
Carpi in 1604.
LOSENKO, Anton Pavlovich, a Russian his-
torical painter, was born at Gluchov in 1737. He
studied at the Academy of St. Petersburg, and
afterwards travelled through France and Italy. He
returned to St. Petersburg, where he gained great
reputation, and became Director of the Academy.
He died there in 1773.
LOSSOW, Fkiedrich, was bom at Munich in
1837, and entered the Academy of that city, where
from 1860 he studied the technicalities of the art
under Piloty. For the most part, however, he was
his own instructor, and distinguished himself as a
painter of aniinals and of humorous pieces, which
appeared in the ' Miinchener Bilderbogen ' and in
the 'FHegende Blatter.' He died at Munich in
1872. The following works by him may be men-
tioned :
The Story of the Little Eoe.
The Fable Book.
The House Dog. 1860.
Dog with Puppies.
Eat-Oatching. 1861 and 1862.
Dog and Monkey Travelling Performance. 1866.
Skye Terrier in a Child's Carriage.
LOSSOW, Karl, was born at Munich in 1835,
and studied at the Academy of that city. On
visiting Italy in 1856 he became acquainted with
the Hereditary Prince George of Saxe-Meiningen,
who employed him in his Villa Carlotta at Lake
Como. He died at Home in 1861. Among his
paintings for Prince George are the following :
Horand courting Hilda, the daughter of King Hagen,
on behalf of Hettel, King of the Danes ; scene from
' GudruD.'
Hagen carried off by Greif , and how he maintained the
Fight with the elder Greif.
Three Cartoons taken from Uhland's ' Chapel.'
Heine's ' King's Child,' and a Hunting Song.
A Cartoon representing the Taking of the Town of
the Malli by Alexander the Great.
LOTEN, Jan. See Looten.
LOTH, Franz, a German painter, was born at
Munich in 1641. He was a brother of Johann Karl
Loth, with whom he visited Venice, where he resided
for several years. In 1699 he returned to Munich,
where he died in 1701.
LOTH, JoiiANN Karl, called in Itjly Carlotto,
was born at Munich in 1632. He was the son
of Johann Ulrich Loth, under whom he studied
for a short time, and then went to Venice, where
he worked under Pietro Liberi. After painting
some historical pictures at Venice, he went to
Loth
PAINTERS AND ENGRAVERS.
Louis
Vienna, where he painted portraits of the Emperor
and other distinguished personages. In the church
of the Lesser Hospital at Venice is a picture of a
' Dead Christ'; in the church of San Giovanni Cri-
Bostoino is an altar-piece, representing the ' Death of
St. Joseph'; and other works are to be found in
the galleries of Augsburg, Bordeaux, Brunswick,
Cassel, Dresden, Munich, and Vienna, He died at
Venice in 1698.
LOTH, JoHANN Ulrioh, was born at Munich
about 1590, and was first instructed by his father, a
painter on glass, and afterwards by Pietro Candido ;
he probably studied also under Carlo Saraceno at
Venice during 1610-13. After returning to Munich,
he became about 1620 court painter to the Elector
Maximilian. He died at that city in 1662. He
painted in oil, water-colours, and miniature. His
best works are considered to be :
Augsburg. Gallery.
Munich. PetersHrche.
„ MeiliggeistMrche.
Several pioductious.
The Last Supper.
The Descent of the Holy
Ghost.
LOTH, Onofrio, a painter, was born at Naples in
1662. He was a pupil of Ruoppoli, and painted
fruit and flowers. He died at Naples in 1717.
LOTTER, Tobias Conkad, a German engraver,
was bom at Augsburg in 1717, and died in 1777.
LOTTES, Chkistian, a German engraver, was
born at Nuremberg in 1701. He worked also at
Augsburg, and died in 1740.
LOTTI, Cosmo, was a painter and mechanician
of Florence, in the service of Philip IV. of Spain.
He furnished the marine and woodland scenery for
Lope de Vega's pastoral drama, ' Selva de Amor.'
LOTTO, Lorenzo, was born about 1480, pro-
bably at T'reviso. He is said to have learned his
art from Andrea Previtale, and to have gone in
early life to Venice, where, according to Vasari, he
became the journeyman and friend of Palma
Veochio, and also studied under both Giovanni
Bellini and Giorgione. His earliest known paint-
ings are a ' Holy Conversation' in the Borghese
jPalace, Rome, and an altar-piece belonging to the
church of San Domenico, Recanati, both having
the date of 1608. The church of San Floriano at
Jesi has an 'Entombment,' painted by him in 1512,
and of about this date is the altar-piece of the
church of San Pietro Martire, at Alzano, represent-
ing the 'Death of St. Peter Martyr.' In 1613
Alessandro Martinengo of Bergamo chose Lotto
from amongst the Bergamese artists to paint the
altar-piece for the church of San Stefano, and
agreed to pay him five hundred ducats in gold for
it Lotto took three years to complete this immense
work, which was first exhibited in 1516, and then
consisted of a central panel with a ' Virgin and
Child enthroned, attended by Angels, and adored
by SS. Domiiiick, Alexander, Barbara, Roch, Mark,
Stephen, John the Baptist, Augustine, and Sebas-
tian'; a triangular tympanum with an 'Angel bearing
the Orb and Sceptre ' (both of which are now in
theohurchof SanBartolommeo atBergamo)f and a
predella containing the ' Resurrection,' the ' Stoning
of St. Stephen,' and a ' Miracle of St. Dominick,'
which is now in the Piccinelli Collection at Seriate,
near Bergamo. Existing records prove that at this
same period Lotto painted a standard for the
Brotherhood of Mercy at Bergamo, designed many
of the cartoons for the ' tarsias ' in Santa Maria
Maggiore, and furnished the two large altar-pieces
of the churches of San Spirito and San Bernardino,
Bergamo. In 1524, at the request of the Suardi
family, he decorated the chapel of St. Barbara, at
Novate, near Trescorre, with frescoes illustrating
the lives of St. Barbara and another saint, which,
although much injured, can be still seen. Soon
afterwards were completed the fresco of the
' Visitation' in the church of San Michele Arcangelo,
Bergamo, and the ' Glory of St. Dominick ' in the
church of the same name at Recanati. In 1525
Lotto left Bergamo and travelled towards Venice,
where he remained for some years. He is known
to have been in Treviso in 1544, and to have there
valued an altar-piece painted by Francesco Beca-
ruzzi. In 1660 he was at Ancona, where he painted
the altar-piece of the ' Madonna and Angels, with
four Saints,' for the church of Santa Maria deli a
Pace, and also agreed to paint seven canvases for
the church of Loreto, which are now to be seen in
the governor's palace in that town. Lotto died
at Loreto soon after 1654. This painter's most
celebrated altar-pieces arc to be seen in the churcljes
of the Carmine and SS. Giovanni e Paolo, Venice,
the cathedral of Asola, and at Monte San Giusto,
near Ancona, where the church possesses a 'Cruci-
fixion,' containing twenty-three life-size figures.
Besides these the following are extant :
Bergamo.
Zochis-Car'
rara Coll.
S. Bartolonimeo.
S. Bemardim).
S. Michele.
Berlin.
S. Spirito.
Gallery.
Brescia. Tisi Gallery.
Florence. Uffizi.
„ Pitti Pal.
Hampton Court. Pal.
London. A'at. Gallery.
51
Bridgewater Gal
Madric
Gallery.
Milan.
Brera
Munich. Gallery.
Paris. Louvre
Petersburg. , Hermitage.
Bome. QuiHnal.
„ Boryhese Pal.
„ Rospiyliosi Pal.
Vienna. Gallery.
Maxriage of St. Catharine.
1512.
Adoration of the Sleeping
Christ. 1533.
Tirgin surrounded by Saints
and Angels. 1516.
Virgin and Child. 1521.
Frescoes: The Annunciation,
Visitation, Marriage of the
'Virgin.
Virgin surrounded by Saints
and Angels. 1521.
Christ parting from his Mother.
1521.
SS. Christopher and Sebastian.
1531.
His own Portrait.
Portrait of an Architect.
Portrait of a Young Man.
Nativity.
Holy Family. 1534.
The Three Ages.
Portrait of Andrea Odoni.
1527.
Portraits of Agostino and
Niccolo della Torre. 1515.
A Family Group.
Madonna and Child, with
Saints.
Marsilio and his Bride, with a
figure of Amor. 1523.
A Pieta.
Three Portraits.
Marriage of St. Catharine.
The 'Woraan taken in Adultery.
Holy Family.
Penitence of St. Jerome.
Portrait of a Man.
Marriageof St. Catharine. 1524.
The Virgin and St. Onofrio;
1508.
Chastity.
The Virgin adored by SS.
Catharine aud James.
LOTYN, Jan, a native of Brussels, was a flower
painter employed a long time by Queen Mary 11.
of England, after whose death he returned to his
native city, where he died after 1695.
LOUIS, Leonard FRANgois, a portrait painter,
was born at the Hague in 1698, and was a pupil of
Pieter van Kink and Jan VoUevens, He died at
the Hague in 1786.
' 79-
Iiotuid
A BIOGRAPHICAL DICTIONARY OF
LSwenstern
LOUND, Thomas, a landscape painter in oil
and water-colours, was born in 1803. He was
engaged in the brewing trade at Norwich, and
pursued art as a recreation. His works appeared at
the Royal Academy from 1846 to 1855. He died at
Norwich in 1861. There is a water-colour drawing
of ' Framlingham Castle ' by him in the South
Kensington Museum.
LOUTHERBOURG, Philippe Jacques de, was
born at Strassburg in 1740. He was the son and
pupil of a miniature painter, who settled in
Paris, where his son was placed under the tuition
of Tisohbein and Francesco Casanova, and became
a very popular painter of battles, hunts, sea-
pieces, and landscapes, with figures and cattle,
in which last he at that time appears to have
imitated the charming style of Nicoiaas Berchem.
His works were universally admired, and in 1768
he was made a member of the Academy of Paint-
ing in Paris, and afterwards appointed court painter
by the king. Though he met with very flattering
encouragement, he in 1771 quitted France, and
settled in London, where he passed the remainder
of Ids life. Soon after his arrival in England he
was employed to mal^e the designs for the scenes
and decorations of Drury Lane Theatre, and in
that province of art he displayed extraordinary
ability. In 1780 he was elected an Associate of
the Royal Academy, and in 1781 became an Aca-
demician. He died at Chiswick in 1812. When
Macklin projected his Bible, De Loutherbourg was
engaged to exercise his powers as a historical
painter ; on which occasion he painted two pictures,
representing the ' Angel 'destroying the Assyrian
Host,' and the ' Universal Deluge ' ; the latter was
considered as his best performance in that depart-
ment. Besides a great variety of easel pictures,
De Loutherbourg occasionally employed his talents
on a larger scale, in commemoration of the most
remarkable military and naval events of the time.
Among his most noted paintings are :
The Review of "Warley Camp. (Royal Collection.)
Lord Howe's Victoryof the 1st June, 1794. {Greemoich
Hospital.)
The Defeat of the Spanish Armada. {J%e same.)
The Siege of Valeucienues.
The Lauding of the English in Egypt.
Victory of Admiral Duncan over the Dutch, 1797.
The Fire of London, 1666.
Miranda.
View of Skiddaw.
View of a Lead Mine in Cumberland.
Landscape and Cattle ; thunderstorm. [Glasgow Gallery.)
Two Landscapes. {Bordeaux Museum.)
He has left the following and other etchings :
Six plates of Peasants.
Six plates of Soldiers.
The Four Times of the Day.
LOUVEMENT, FRANgois de, a French engravei,
was born at Nevers in 1648. He is said by Florent
Le Comte to have resided some time in Italy, at
the time when Francois de PoiUy studied at Naples.
He died about 1690. He engraved several plates
after the Italian masters, including Lanfranco,
Solimena, and others, among which are :
The Stoning of St. Stephen; after Pietro da Cortona.
St. Francis Xavier interceding for the Plague-stricken ;
after Ciro Ferri,
LOUVION, Jean Maeie, a French engraver, was
born at Versailles in 1740. He studied under
Fossard, and worked chiefly for the booksellers.
He died in 1804.
go
LOUW, PlETEB, a Dutch painter and engraver,
was bom at Amsterdam in 1720. He spent most
of his time in drawing from the best masters.
In 1743 he was made a member of the Academy,
and in 1768 one of the Directors. He died be-
tween 1794 and 1800.
LOUYS, Jan, (or Loys,) a Flemish engraver, was
born at Antwerp about the year 1600. He was a
pupil of Pieter Soutman, at the time when Suyder-
hoef studied under that master, and he engraved
several plates after his instructor's designs. The
following are his principal prints :
PORTEAITS.
Philip the Good, Duke of Burgundy ; after Soutman.
Louis XIIL, King of France ; after Rubens.
Anne of Austria, his Queen ; after the same.
Philip IV., King of Spain ; after the same.
Elizabeth of Bourbon, his Queen ; after the same.
Francois Thomas of Savoy, Prince of Carignan ; after
Van Dyck.
SUBJECTS AFTEK VARIOUS MASTERS.
The Resurrection of Lazarus; a. fine copy from the
print by J. Lievens.
St. Anthony; after Allrrecht Diirer.
Diana and her Nymphs reposing after the Chase ; after
Rubens.
The Interior of a Dutch Kitchen ; after Ostade.
Peasants amusing themselves ; after A. Both.
A Dutch Kitchen ; after W. Kalf.
LOVELL, Peregrine, an engraver who flourished
about the middle of the 16th century, worked in
the style of Hollar. There are some small en-
gravings of Flemish soldiers by him, and speci-
mens of his work will also be found in Delia Bella's
Drawing-Book (1634).
LOVER, Samuel, an Irish miniature and land-
scape painter, was born at Dublin in 1797. He early
obtained a reputation for his miniatures, and was
elected a member of the Hibernian Academy in
1822. Much of his time was taken up by giving
entertainments illustrative of Irish character. He
also achieved a considerable literary reputation
by his novels, and had a civil list pension of £100.
Many of his landscapes and portraits were ex-
hibited at the Royal Academy. During his last
years he lived in Jersey, where he died in 1868.
LOWE, JoHANN Michael Siegfried, a German
painter and engraver, was born at Konigsberg in
1756. He studied first at Berlin, and afterwards
went to Dresden. He visited Venice and Vienna,
and in 1780 went to Russia, where he stayed some
time, returning to Berlin in 1795. He painted
portraits and historical subjects, and Was living
in 1822.
LOWE, Mauritius, an historical painter, was
born about the middle of the 18th century. He
was a pupil of Cipriani, and studied in the schools
of the Royal Academy, where in 1769 he was the
first gold medallist for historical painting. Sent
to Rome, he forfeited the travelling studentship by
non-compliance with the conditions. He had a
contest^with the Academy in 1788 as to the recep-
tion of his picture of the ' Deluge,' and was much
befriended by Dr. Johnson. Improvident and ill-
conditioned by nature, his circumstances were
aggravated by an imprudent marriage, and he
gradually sank out of public notice. He died in
Westminster in 1793.
LOWENSTERN, Christian Ludwig von, was
born at Darmstadt in 1702. In the Museum of
that town is a battle-piece by this artist. He died
in 1755.
Lowry
PAINTERS AND ENGRAVERS.
Lucas
LOWRY, Robert. See Ladkie.
LOWRY, Strickland, a portrait painter,
flourished in the latter part of the 18th century.
He was a native of Whitehaven, where he practised
as well as in Dublin, Shropshire, StafEordshire, and
Worcestershire, obtaining a considerable local
reputation. He furnished some illustrations for
Phillips's ' History and Antiquities of Shrewsbury,'
1779.
LOWRY, Wilson, was born at Whitehaven in
1762. He was the son of Strickland Lowry, and
was by him taken when a child to L-eland. After-
wards, while still a boy, he worked as a house
painter at Worcester, and also began to practise
engraving. At the age of seventeen he was in
London, and was admitted into the schools of
the Royal Academy. Few of his earlier plates
bear his name, having been executed for other
artists, to whose fame they contributed. He en-
graved most of the plates on mechanical subjects
in Rees's ' Cyclopsedia,' Crabbe's ' Technological
Dictionary,' the 'Philosophical Magazine,' and
other works of a like kind. His mathematical
knowledge of drawing, his researches in the laws
of mechanics, his extensive acquaintance with
physics and the general properties of matter and
form, combined with the correctness of an eye that
never erred, and a hand that could not deviate,
highly qualified him for such work. Some of the
finest specimens of his abilities, ae an architectural
engraver, are to be found in the plates of Murphy's
'Batalha,' Nicholson's 'Architecture,' the print of
the House of Commons at Dublin, and Gandon's
designs. He died in London, after a prolonged
illness, in 1824, leaving a son and daughter, who
followed the same profession.
LOYER, — , was a native of Prance, who
flourished about the year 1760. Among other prints,
he engraved some plates of architectural subjects
from the designs of Dumont and others after
Marieschi, Bernini, and others.
LOYER, NicoLAES, a Flemish historical painter,
was born at Antwerp in 1625, and died in 1681.
LUARD, John Dalbiac, a subject painter, was
bom in 1830. He originally held a commission in
the army, which he left to become a pupil of John
Phillip. From 1855 he exhibited a few pictures,
bearing on a soldier's life, at the Royal Academy.
His health early failed him, and he died at Winters-
low in 1860, after having shown much promise
of future excellence.
LUBIENIECKI, Bogdan, or Teodoe, a Polish
painter and engraver, was born at Cracow in 1653.
He was instructed in design by Juriaan Stur,
a painter of Hamburg ; from thence he went
to Amsterdam, where he became a scholar of
Gerard de Lairesse. On leaving that master he
went to Italy, and resided some time at Florence,
where he was particularly patronized by the grand-
duke. On his return to Germany he was invited
to the court of Berlin, and was made painter to
the Elector of Brandenburg, and director ^f the
Academy. He painted history and landscapes in
the style of De Lairesse, and designed Schliiter's
' Masks,' which are in the arsenal at Berlin. He
etched a set of six grand landscapes and figures,
inscribed Th. de Luhinetzlci fecit., in 1698. Others
of hie works are marked T. D. L. He returned
to Poland in 1706, and was still living in 1729.
LUBIENIECKI, Kezysztof, the younger brother
of TeodorLubieniecki, was born at Stettin in 1659.
After receiving some instruction in design, with his
vol. II. Q
brother, from Juriaan Stur, he accompanied Theodoi
to Amsterdam, where he entered the school of
Adriaan Backer, and followed the style of that
master, both in history and portraits. He died at
Amsterdam in 1729. Two of his paintings, ' The
SnuflE-box and the Pipe ' and ' Table Friends,' aro
at Copenhagen.
LUBIN, Jacques, a French engraver, was born
in Paris in 1637. Prom the resemblance his style
bears to that of Gerard Bdelinck, he is supposed to
have been a pupil of that artist. He was living in
1694. Among other plates, the following are by
him:
portraits.
Henri, Vicomte de Turenue, Marshal of France; after
Philippe de Ckampaigne,
Henri Augusts, Comte de Brienne ; after Largilliire.
Prangois, Oomte de Grignan ; after the same. '
Louis, Due d'Humi^res,. Marshal of France : after F.
Voet. ■'
Armand Jean du Plessis, Cardinal de Richelieu.
Jean Pierre Camus, Bishop of Belley.
Jean Papire Masson, celebrated advocate.
Jacques Callot, engraver.
Vincent Voiture, of the Frencli Academy.
Pierre CorneiUe, dramatic poet.
Olivier Patru, of the French Academy.
Robert Aruauld d'Andilly.
Jean Baptiste Colbert, Minister of State.
Thirty-eight portraits, including some of the above, in
Perrault's ' Hommes illustres qui ont paru en France,'
1696—1700.
SUBJECT.
The Entombment of Christ ; after Le Sueur.
LUBLINSKY, Martin Anton, a painter, was
born at Leschnitz in Silesia in 1643. He was a
pupil of Scieta. In the Collegiate Church of
Olmutz are frescoes by this artist, as also an altar-
piece, and several pictures are to be found in the
different churches in Olmutz. He died in 1690.
LUCA, Santo, a monk, was a native of Florence,
who lived in the 9th century, and on account of
his saint-like conduct was called Santo. He is
said to be the author of several paintings which
were formerly attributed to Luke the Evangelist,
as those of the ' Virgin and Child ' in the Madoima
di San Luca at Bologna, and in Santa Maria Mag-
giore at Rome.
LUGA DI TOMB. See TomJ;.
LUCA FA Presto. See Giordano.
LUCAN, Margaret Bingham, Countess of, born
in 1740, was the daughter and co-heiress of James
Smith, M.P. She married in 1760 Sir Charles
Bingham, Bart., who in 1776 was created Baron
Lucan, and in 1795 Earl of Lucan. She painted
original miniatures, and made clever copies of
those by Hoskins, the Olivers, and Samuel Cooper.
There is at Althorp a Shakespeare illustrated by her
with portraits, views, and various ornaments. She
died in 1815.
LUCAS, Auger, a French historical painter, was
bom in 1685. He was a grandson of Tournieres,
and was received into the Academy in 1722 upon
his picture of ' Acis and Galatea,' which was
formerly at St. Cloud. He died in 1765. The
Museum of Nantes possesses 'Spring,' 'Summer,'
' Autumn,' and ' Winter,' by this artist.
LUCAS, August, a German landscape painter,
was born at Darmstadt in 1803. He resided for
some time at Rome, and died in 1863. In the
Darmstadt Gallery are three landscapes by hira.
LUCAS, Germain, a French engraver, -flourished
81
Lucas
A BIOGEAPHICAL DICTIONARY OF
Iiuciani
from about 1700 to 1746. He engraved, in a very
neat style, several architectural plates for the
collection of 'Views of Versailles,' published by
P. Menant. He had a son who engraved, but his
prints are not specified.
LUCAS, Jean Paul, was a French painter, who
died at Toulouse in 1808. He established the
Museum in that city, and published a catalogue
of its contents.
LUCAS, John, a portrait painter, was born in
London in 1807. He was a pupil of S. W. Eey-
iiolds, and began life as a mezzotint engraver, but
turned early to painting. He obtained a large
practice as a portrait painter, and was a constant
exhibitor at the Eoyal Academy from 1828 until his
death. Among his sitters were the Prince Consort
and the Duke of Wellington. He died in London
in 1874. In the National Portrait Gallery is a
portrait of Miss Mitford.
LUCAS, John Templeton, a portrait painter,
and the eldest son of John Lucas, was born in
1836. He exhibited at the Eoyal Academy, and
at the Society of British Artists. He was the
author of a farce called 'Browne the Martyr,' pro-
duced at the Court Theatre, and of a little volume
of fairy tales, entitled ' Prince Ubbely Bubble's
New Story Book,' published in 1871. He died at
Whitby in 1880.
LUCAS VAN LEYDEN. See Jacobsz.
LUCASZ, PlE'i'ER Feans, a landscape painter,
born at Mechlin in 1606, was a scholar of Gerard
Seghers. He painted landscapes ornamented with
small figures, and was patronized by the Archduke
Leopold, for whom he painted a great number of
pictures. He died in 1654. The portrait of
Pliiderpe, a Flemish sculptor, in the Museum at
Brussels, is by him.
LUCATELLI. See Locatelli.
LUCCA, Michelangelo da. See Anselmi.
LUCCHESE. See Ldoensis, and Eicchi.
LUCCHESINO, IL. See Testa.
LUCE, Louis Eene, a French engraver, was
born in Paris in 1695. He worked first for the
goldsmiths, but was afterwards appointed engraver
to the Imprimerie Eoyale. He died in 1774.
LUCENA, Diego db, of an illustrious family of
Andalusia, was a scholar of Velazquez, whom be
imitated in his portraits, both large and small.
He acquired great credit by his portrait of the
poet Atanasio Pantaleon, who repaid him with a
sonnet. He died young in 1650.
LUCENSIS, Michele, (or Lucchese,) was an
Italian engraver and printseller, who resided at
Eome about the year 1550. He engraved some
prints after Michelangelo, Eaphael, and Polidoro
da Caravaggio, which he usually marked with the
monogram jflF'
LUCENTI, GiROLAMO, a native of Correggio in
Lombardy resided at Seville in 1608. In that
year he painted for the chapel of St. Thomas's
College a pair of landscapes with figures, repre-
senting the ' Calling of St. Andrew and St. Peter.'
He also visited the city of Granada, where he exe-
cuted in 1642 seven small works on the subject
of the discovery of the manuscripts and relics at
Sacro Monte.
LUCHETTO DA GENOVA (or Luchino). See
Cambiaso, Luca.
LUCIANI, Antonio, a painter and engraver, was
born at Venice in 1700. He was a pupil of
Piocini in landscape and of Feldoni in engraving.
82
LUCIANI, Sebastiano, commonly called Sbbas-
TIANO DEL PlOMBO, from the ofiBce of Keeper of the
Leaden Seals, conferred upon him by Pope Clement
VII., was born at Venice in 1485, and was educated
by his father for the profession of music. Having
become acquainted with Giorgtone, who was like-
wise a musician, he was probably induced by him
to learn the art of painting, and to enter the
studio of Giovanni Bellini ; in after years he
became the disciple of Giorgione. Amongst his
earlier paintings were the altar-pieces of the
' Incredulity of St. Thomas,' executed for San
NiCcol6 at Treviso, and the ' Majesty of St. John
Chrysostom,' executed for San Giovanni Crisostumo,
Venice. Soon after finishing this last painting
Luciani went to Rome by invitation of Agostino
Chigi, who had just finished building his palace of
the Farnesina, and who desired his aid in its
decoration. His first work there was a series of
mythological designs taken from Ovid's ' Metamor-
phoses,' which attracted the attention and admiration
of both Michelangelo and Raphael. A friendship
then sprung up between Michelangelo and Sebas-
tiano, which produced a marked effect on the style
and future fortunes of the latter. The frescoes at
the Farnesina Palace were finished about 1512,
and it was then that Sebastiano commenced to
paint portraits in oil. Amongst these may be
mentioned the ' Fomarina,' now at Berlin, and that
in the Ufifizi, Florence. A league was now formed
between Sebastiano and Buonarroti against Eaphael,
and they both endeavoured to obtain commissions
from Julius II., that they might compete against
the acknowledged talents of the latter. Buonarroti
had felt some uneasiness at the growing fame of
Eaphael, and he readily availed himself of the
powers of Sebastiano as a colourist, in the hope
that, assisted by his designs, he might be enabled
to enter the lists with his illustrious antagonist, if
not to drive him from the field. With this view, he
furnished him with the designs for the ' Pieta ' in
the church of the Conventuali at Viterbo ; and
the ' Transfiguration ' and ' Flagellation ' in San
Pietro in Montorio at Rome, which, as he was
very tedious in his process, occupied him six years.
The extraordinary beauty of the colouring, and
the grandeur of Michelangelo's composition and
design, in these celebrated productions, were the
objects of universal surprise and applause. It was
at this juncture that the Cardinal Giulio de' Medici
commissioned Eaphael to paint his immortal picture
of the 'Transfiguration,' and being desirous of
presenting an altar-piece to the cathedral of Nar-
bonne, of which he was archbishop, he engaged
Sebastiano del Piombo to paint a picture of the
same dimensions, selecting for the subject the
' Eaising of Lazarus.' On this occasion he was
again assisted by the powers of Buonarroti, by
whom it was composed and designed. The picture
was publicly exhibited at Rome, in competition
with the ' "Transfiguration ' ; and it is no mean
proof of its extraordinary merit, that, notwith-
standing the transcendent beauty of Raphael's
chef-d'oeuvre, Sebastinno's performance excited
universal admiration. This celebrated work of art
was removed, by the Eegent of France, from the
cathedral at Narbonne into the Orleans collection,
of which it was once one of the most important
ornaments. It is now in the National Gallery.
After the death of Raphael, Sebastiano was reputed
the most distinguished artist at Rome. He was
particularly favoured by Clement VII., who re-
Lucidel
PAINTERS AND ENGRAVERS.
Lucy
munerated his services by appointing him to a
lucrative office, which occasioned him, in the latter
part of his life, to relax in his labours as a painter.
On the death of that Pope he continued to hold
the post of Frate del Piombo under Paul III. His
last undertaking was the chapel of theChigi family,
in Santa Maria del Popolo, which he left incomplete:
it was afterwards finished by Francesco Salviati.
He died at Rome in 1547. The following are
some of his principal works :
Berlin. Gallery. Pieti.
„ „ Portrait of a Man (formerly called
Aretino).
„ „ Portrait of a Nobleman.
Bordeaux. Museum. Virgin and Dead Christ.
Burgos. Cathedral. Virgin and Infant Christ.
Edinburgh. Ifat. Gall. Bacchus and Ariadne.
Florence. Fitti Pal. Martyrdom of St. Agatha.
„ „ Portrait of a Young Man.
Lendinara. S. Biatjio. The Visitation.
London. Nat. Gall. Resurrection of Lazarus. 1519.
„ „ Portraits of the Artist and Car-
dinal Ippolito de' Medici.
,, „ Portrait of an Italian Lady, as
St. Agatha.
Madrid. Gallery. Christ bearing His Cross.
„ „ Christ in Hades.
Naples. Museum. The Child Jesus sleeping.
„ „ Portrait of Adrian VI.
„ Holy Family.
Paris. Louvre. The Visitation.
Parma^ Gallery. Portrait of Clement VII.
Petersburg. Serimtaye. Christ bearing His Cross.
„ „ The Descent from the Cross.
„ „ Portrait of Cardinal Pole.
Home. FarnesiTia. Fresco : Subjects from the story
of Galatea.
„ S. M. del Popolo. Birth of the Virgin.
,, S. Fietro in Mon- 1 mi, m ^ i.- ur \
torio \ Transfiguration (fresco).
„ „ The Flagellation (oil, on the wall).
„ „ St. Bernard.
„ Doria Pal. Portrait of Admiral Andria Doria.
Treviso. S. Niccolb. Incredulity of St. Thomas.
Venice. S. Giovanni \ St. John Chrysostom surrounded
CHsostomo. } by Saints.
Viterbo. S. Francesco. The Dead Christ.
LUCIDEL. See NedfohItbl.
LUCIEN, Jean Baptiste, a French engraver in
the crayon manner, was born in Paris in 1748, and
died in 1806. He produced some academy figures
and heads as studies for pupils, and some beautiful
vignettes after Cochin for an edition of 'Tele-
machus.' Besides these he engraved the following
plates :
The Eape of Cephalus ; after Fietro da Cortona.
St. Cecilia ; after Guercino.
Italian Girls ; after the same.
The Vintage ; a, ter the same.
Children dancing ; after the same.
The Persian Beauty ; after the same.
The Kising of Aurora ; after Pierre.
Italian Musicians ; after Rouchardon.
Fauns and Cupids ; after Cipriani.
The Young Sister ; after Grmze.
Andromache weeping over the ashes of Hector ; after
Angelica Kauffmann.
Napoleon I. ; afte}- Le Barlner.
Bas-relief for the Arc de Triomphe de la Federation ;
after Moitte.
LUCINI, Antonio Francesco, an engraver, was
born at Florence in 1605. He was instructed by
Stefano della Bella, and engraved some plates in
the style of that master, as well as in that of Callot.
He usually marked his plates with the cipher
..MLF. Tliere is by him a copy of Stefano della
Bella's print of the ' Festival on the Arno ' ; as well
as the following :
o 2
Sixteen plates of Scenes during the Siege of Malta by
the Turks in 1565 ; a/tej- Mateo Perez de Alesio.
Portrait of B. Tremblet, the sculptor.
LUCKX, Chbistiaan, a Flemish flower painter,
was born at Antwerp in 1623, and in 1639 became
a pupil of Philips de Maeher, with whom lie re-
mained three years, and afterwards of Frans
Francken III., under whose guidance he painted
some small historical pictures, such as ' Lot and his
Daughters,' ' The Adoration of the Kings,' ' Christ
bearing His Cross,' ' Christ's Appearance to St.
Theresa,' and 'St. Ignatius.' In 1645 he beonme
a master in the painters' guild at Antwerp, and
henceforward devoted himself to still-Iife and
flowers. There is no record of him after the bap-
tism of his son in 1653. The Madrid Gallery has
a flower piece by him.
LUCQUIN, Henriquetta, whose maiden name
was GiROUARD, was born at Lisbon in 1819. She
became a pupil of Gosse, and exhibited portraits
and historical subjects at the Salon from 1841 to
1865. She died in 1866.
LUCY, Charles, a portrait painter, was born in
London in 1692. He studied at Rome and Bologna,
and for eight years was a pupil of Cignani.
LUCY, Charles, an historical painter, was born
at Hereford in 1814. He commenced life as an
apprentice to his uncle, who was a druggisl, but
he soon abandoned that business, and proceeding
to Paris, entered the Boole des Beaux-Arts, where
he attended principally the classes under Paul
Delaroche. Subsequently he returned to England,
and became a student in the Royal Academy.
After oscillating for some time between England
and France, he settled down at Barbison, near
Fontainebleau, where he resided nearly sixteen
years. From 1838 until the time of his decease
scarcely a year passed without one or more of his
works appearing on the walls of the Royal Academy.
In 1843 he sent to the "Westminster Hall competi-
tion a cartoon of ' Caractacus and his Family before
the Emperor Claudius,' and in 1844 another cartoon
of ' Agrippiiia interceding for the Family of Carac-
tacus.' In 1845 he sent to the same exhibition
' An Abstract Personification of Religion ; ' and in
1847 ' The Embarkation of the Pilgrim Fathers in
the Ship Mayflower,' for which he received a
premium of £200. He also painted for Sir Joshua
Walmsley several portraits of distinguished states-
men and others, which have since been bequeathed
to the South Kensington Museum. He devoted
himself almost entirely to historical subjects, chiefly
connected with the Puritan era of English history,
several of which have through engravings become
popular both here and in America, where some of
his works have found a home. He died in London
in 1873. The most important of his exhibited
works are :
The Interview of Milton with Galileo 1840.
An Illustration of II Penseroso. 1843.
The Parting of Burns and his Mary. . 1844.
The First Love of Napoleon Bonaparte. 1845.
Salvator Mundi. 1847.
The Landing of the Pilgrim Fathers. 1848.
The Death of Mrs, Claypole. 1849.
Evangeline in the Church. 1849.
The Parting of Charles I. with his Children. 1850.
The Eoyal Captives of Carisbrooke. 1851.
The Parting of Lord and Lady Rusfiell. 1852.
Nelson in the Cabin of the Victory. 1S54.
The Burial of Charles I. 1857.
Cromwell resolving to refuse the Crown. 1857.
Bonaparte in Discussion with the Savants. 1858.
Prayers for the Dead— All Saints' Day. 1859.
83
Ludeke
A BIOGRAPHICAL DICTIONARY OF
Luini
Lord Saye and Sele before Jack Cade. 1860.
The Reconciliation of Sir Joshua Reynolds and Gains-
borough. 1863.
Cromwell with his Family at Hampton Court. 1863.
(Glasgow Corporation Galleries.)
Garibaldi at the Tomb of TJgo Foscolo. 1865.
The Intercepted Embarkation of John Hampden and
his Friends. 1867.
The Forced Abdication of Mary Stuart, Queen of Scot-
land, at Loehleven Castle. 1868.
Noontide Eepo.se. 1869.
Portrait of the Right Hon. W. E. Gladstone. 1869.
Ohsirlotte Corday returning to Prison after her Con-
demnation. 1871.
Columbus at the Monastery of La Rabida. 1872
Shakespeare before Sir Thomas Lucy.
LtJDEKB, Petek Ludwig, a painter, was born
about 1760. He studied landscape painting, and
tben proceeded to Italy. In 1786 he went to Rome,
but in the next year returned to Berlin.
LtJDERS, David, a portrait painter, was born
at Hamburg about 1710. He was first instructed
by PfeifEer at that city, but went afterwards to
Paris, where he studied under Lemoine, and then
to Italy, and subsequently to England and St. Peters-
burg. Among his best portraits are :
The Prince of Wales. 1751.
The Family of the Russian Ambassador.
Count Tschernitschev.
LUDIUS, was a Roman painter in the time of
Augustus, who, according to Pliny, was the first to
adorn the walls of rooms with landscapes, which
he embellished with figures variously occupied.
He was the first Roman artist who painted in
fresco, and he was chiefly employed in decorating
the walls of the villas and country-houses with
views of gardens, woods, and water-courses, with
graceful figures.
LUPFGLI, Giuseppe Maria, was a native of
Pesaro, who flourished about 1680. He was a pupil
of Siraone Contarini, and painted portraits and
historical subjects.
LUGANO, Lo Zoppo di. See Discepoli.
LUGARDON, Jean L:Sonaed, a French. historical
painter, was born at Geneva of French parentage
in 1801. He studied under Gros and Ingres, and
exhibited at the Salon from 1827 to 1857. Three
landscapes by him were in the Exposition Univer-
selle of 1867. He died in 1875.
LUGRENCBLIS. This name is afSxed to a
bold, spirited etching of a Bacchanalian subject,
in the style of Benedetto Castiglione. It is inscribed
Lugrencelis inv. et scul.
LUHNE, Joachim, was born at Hamburg about
1620, and studied under A. Backer, whose style he
imitated with success, hut he afterwards studied
the works of Carlo Lotti, and adopted from him a
darker colouring. In 1673 he was master, and in
1692 head of the Guild at Hamburg. He died
there in 1717. Among his works are :
Brunswick. Museum. His own Portrait, those of his
family, and that of the mathe-
matician Hertel. 1672.
Hamburg. ^™- 1 ^j^^ „j HamUrg.
LUIGI, Andkba di. See Alovigi.
LUIKEN, Gaspae, (or Ldyken,) o, Dutch en-
graver, supposed to have been the brother of Jan
Luiken, was born at Amsterdam about the year
1670, and is known to have been living in 1710.
He executed many works in conjunction with Jan
Luiken. Those executed by him alone are very
inferior, and consist chiefly of book-plates, in
84
which he was almost entirely employed. Among
them are the following :
Twelve plates of the Months of the Year.
Four plates of the Seasons.
St. Francis Xavier preaching before the Emperor of
Japan.
The Miracle of the Loaves.
LUIKEN, Jan, (or Luykbn,) was born at Am-
sterdam in 1649. He was a scholar of Martinus
Zaagmolen, and for some time applied _ him-
self to painting, but not succeeding to his ex-
pectation, he turned his thoughts to engraving,
in which he became eminent. He usually engraved
after his own designs, and he received, from his
crowding his compositions with an infinite number
of figures, the name of ' The Dutch Callot.' He
died in 1712. His principal work is the set o£
plates he engraved for the Biblical works published
by Mortier. Only a few of the plates of the so-
called ' Mortier's Bible ' are by Luiken, but there
is another series published by Mortier and Covens,
consisting of 62 very elaborate engravings of
occurrences in Bible history, the whole of which
are by him, and exhibit uncommon powers of
invention and freedom of execution. Out of
upwards of 900 engravings, the following may be
selected :
Ten plates of the Commandments.
Seventeen plates for the ' History of Finland.'
Seventeen plates for the ' Voyages orientaux de M.
ThSvenot.'
One hundred and five plates for the ' History of the
Martyrs.'
The Prophet Jonah preaching to the Nluevites.
The Assassination of Henry IV. of France.
The Massacre of St. Bartholomew ; on two sheets (in
conjunction with Gaspar Luiken).
A great variety of emblematical subjects, fairs, public
ceremonies, book ornaments, &c.
LUINI, Ambbogio, a brother and pupil of Bernar-
dino Luini, flourished in the earlier part of the 16th
century, and was a good artist, as is shown by his
frescoes of the Madonna at Saronno.
LUINI, AuEELio, son of Bernardino Luini, was
born at Milan about 1530, and was still living in
1584. In the Brera at Milan is a picture of the
' Martyrdom of St. Vincent the Deacon.'
LUINI, Beenardino, called erroneously by
Vasari Beenaedino del Lupino, was born at Luino
on the Lago Maggiore between 1460 and 1470.
He was a pupil of Stefano Scotto, but in the middle
part of his career he became an imitator and fol-
lower of Leonardo da Vinci. His early works
bear no trace of Leonardo's style, and his late
productions evince much originality, with Leo-
nardo's manner for a basis. Several of his best
works have for a long time been attributed
to the hand of Leonardo. He worked in the
churches of Milan and the neighbouring towns.
Milan, Saronno, and Lugano still possess his best
pictures, which for sweetness and depth of feeling
are unrivalled. He was still living in 1530. It is
impossible for one artist to approach nearer to the
style of another than Luini does to that of Leo-
nardo. There is the same taste in his composition
and design, the same peculiarity of colour and
extraordinary relief ; and it requires an intimate
acquaintance with the works of Leonardo to dis-
criminate between them. To form a just idea of
the powers of Luini, it would be necessary to
study his series of pictures of the ' Life of the
Virgin,' at Saronno, in which the Virgin is repre-
sented with a beauty, dignity, and modesty which
Luini
PAINTERS AND ENGRAVERS.
Lundgren
„ Palazzo Cappord.
Hampton Court. Pal,
»» J)
Legnano. Church.
London. Xat. Gall.
Milan.
Brera.
resemble the works of Raphael. He was not less
distinguished in his fresco paintings, of which the
principal are the ' Christ crowned with Thorns ' in
the Gollegio del S. Sepolcro, and those in the choir
of the Monastero Maggiore at Milan. The follow-
ing are among Luiiii's extant works :
Corao. Cathedral. Adoration of the Magi (m tempera) .
n 1) Adoration of the Shepherds [in
tempera).
Darmstadt. Gallery. Virgin and Child.
Florence. Ufizi. The Daughter of Herodias with
the Head of John the Baptist.
Madonna kissing the Child.
Flora.
St. Catharine.
Altar-piece.
Christ and the Doctors.
Lugano. & Maria 1 m, „ . / j. ^
%?i .^n^cZi. P^® P'^'^i™ O**''")- 1529.
„ „ Madonna with two Children.
„ „ Last Supper.
*5""T'' ■l^*''*y'^''°«"' °f St. Maurice and
{Mo7iastero >■ gt Catharine {fresco).
Maggiore.)} " '
Christ at the Column (fresco).
gt. Catharine borne to the tomb
by Angels.
Madonna and Child in a Rose
Arbour.
. Madonna enthroned, with SS.
Anthony and Barbara (fresco).
1521.
Birth of Adonis.
Sacrifice to Pan.
Metamorphosis of Daphne.
Young Girls playing.
The Drunkenness of Noah.
Christ crowned with Thorns,
adored by the Confraternity of
the Holy Cross.
The Eedeemer.
St. Catharine.
Virgin and Infant.
Holy Family.
Sleep of the Child Jesus.
„ ,, Salome receiving the Head of
John the Baptist.
„ „ The Forge of Vulcan.
„ „ Two Pictures of Children.
,, „ The Nativity.
„ „ Adoration of the Magi.
„ „ Christ.
Pavia. Chartreuse. The Virgin and Child plucking
a Flower.
„ „ St. Sebastian and St. Christopher.
Petersburg. Hermitage, Virgin and Child.
„ „ St. Catharine.
„ „ Portrait of a young Lady.
„ „ St. Sebastian.
Sciarra Pal. Modesty and Vanity.
Modena.
Munich.
Naples.
Paris.
Amlrosiana,
Gallery.
Gallery.
Museum.
Louvre.
Eome.
Saronno.
Vienna.
-^^f ™^^| The Marriage of the Virgin.
Gallery.
SS.Eochand Sebastian. [Frescoes.)
Adoration of the Magi. 1525.
The Presentation in the Temple.
St. AppoUonia with an Angel.
St. Catharine with an AngeL
The Daughter of Herodias.
St. Jerome.
LUINI, EvANGELiSTA, a younger brother of Ber-
nardino Luini, flourished in the 16th century. He
chiefly devoted himself to the painting of ornament.
LUINI, LuiGi Cesaee, was a native of Valesia,
in Lombardy, who flourished in the 16th century.
He was a pupil of Gaudenzio Ferrari, and painted
several frescoes afVarallo, near Como.
LUINI, ToMMASo, a painter, was born at Rome
about 1697. He was a pupil of Andrea Sacohi,
and an imitator of Caravaggio, so that he was
called " Caravaqgino." At San Carlo al Corso are
several frescoes by this artist. He died about 1632.
LUISMON, JoHANN Anton. See Eismann.
LUIZ, was a Portuguese painter of the 15(h cen-
tury, who painted between 1442 and 1446 several
historical pictures in the monastery of Naxera.
LUKE, Saint. The well-known tradition that
the Evangelist Luke was a painter rests on the
authority of Nicephorus, of the Menology of the
Emperor Basil, and of other late writers. None of
these are of historical authority, and the New
Testament makes no mention of a fact so likely to
have been recorded.
LUMLEY, George, an amateur, has left several
portraits engraved in mezzotint. He was a
solicitor, and resided at York, where he died
in 1768 at the age of 60. Among his works are
the following :
Thomas Comber, Dean of Durham.
Lady Mary Fenwiek ; after Dahl.
Sir "Walter Hawksworth, Bart.
Sir Mark Millbauke, Bart.
LUNARDUS, a wood engraver, flourished about
1520. He executed some cuts of frontispieces and
book ornaments from his own designs.
LUND, Jens Petersen, a Danish painter and
etcher, was born in Sonderjylland, and received
his first instruction at the Academy at Copenhagen.
In 1756 he received the gold medal, and then
visited France and Italy, remaining in Rome for
some time. He returned to Copenhagen in 1775,
where he painted landscapes and architectural
pieces, and died in 1790.
LUND, JoHAN LuDviG Gerhard, a Danish
painter, was born at Riel in 1777. In 1796 he
entered the Academy of Copenhagen, where he
remained three years, and then went to Dresden.
In 1800 he went to Paris, and entered the atelier
of David. In 1802 he went to Rome, where he
painted his picture of 'Andromache,' and others.
He returned to Copenhagen in 1810, and became a
professor of the Academy. In 1814 he painted the
' Return of Habor from the Battle,' and in 1819
the 'Magdalene at the Sepulchre.' The picture of
the ' Walk to Emmaus ' is in the church at Fiihnen.
He died in 1867.
LUNDBERG, Gustave, was a French portrait
painter, who exhibited at the Salon between 1743
and 1767. He was a member of the Royal Academy
of Painting and Sculpture.
LUNDBYE, JoHAN Thomas, a Danish landscape
and animal painter, was born at Kallundborg in
1818, and died at Flensburg in 1848. Among his
pictures are :
Copenhagen. Gallery. A Milking Place at Vognserup.
„ „ A Cow Shed.
„ „ Open Country in the North of
Zeeland.
„ „ Oxen in the Carapagna.
LUNDENS, Gbreit, was a Dutch painter, who
flourished about 1666. He painted conversation
pieces in the style of Metsu, Ostade, and other
Dutch painters. His works are found in the
Dresden and Hanover Galleries.
LUNDGREN, Egron, a Swedish landscape and
subject painter in water-colours, was born at Stock-
holm in 1816. He was educated in Paris under
Cogniet, and afterwards travelled much in Italy,
Spain, Egypt, and India, in which last counti-y he
accompanied the staff of Lord Clyde. Through
meeting John Phillip at Seville, he came to
England in 1853, where he subsequently chiefly
85
Lunghi
A BIOGRAPHICAL DICTIONARY OP
Luti
lived, becoming in 1864 an associate, and in 1867
a member of the Water-Oolour Society. He
published ' Letters from Spain ' and ' Letters from
India,' and died at Stockholm in 1876. Amongst his
chief works are :
The Feast of Corpus Christi at Eome. 1841. (StocTc-
holm JVational Gallery. )
Kneeling Pilgrims. 1845. {Stockholm JVational Gallery.)
Dominican Friars in the Library of Siena.
A Barber's Shop at Seville.
A Spanish Posada.
Indian Nautch Girls.
The Travelling Companions. 1873.
Eafaela. 1875.
LUNGHI, Antonio, was bom at Bologna about
the year 1685 (or, according to Zani, 1677), and was
a scholar of Giovanni Giuseppe dal Sole. He
painted historical subjects, of which the principal
are in the churches at Bologna. In Santa Maria
Maddalena is a picture of ' Christ appearing to Mary
Magdalene,' and in San Bartolommeo an altar-
piece representing ' St. Rita.' He died in 1757.
LDNY, Thomas, a marine painter, was born in
1758. His works appeared at the Royal Academy
between 1780 and 1802. There is a picture by him
at the Foundling Hospital of 'Vessels attacking
Land Batteries.' He died at Toignmouth in 1837.
LUPIGINI, Giovanni Battista. See Lopicino.
L UPTON, 'Thomas Gopf, a mezzotint engraver,
was born in London in 1791. He was the son of a
working goldsmith in Clerkenwell, and at an early
age he showed so much taste for drawing that in
1805 his father placed him under the tuition of
George Clint, A.R.A., the mezzotint engraver, and
portrait and historical painter. On the expiration
of his apprenticeship he began work on his own
account as an engraver of portraits, but finding
that he could not obtain a sufficient number of
impressions of works executed on copper to make
them remunerative, he made several experiments
on plates of nickel, the Chinese alloy called
tutenag, and steel, in the hope of discovering
something that would be more durable than copper.
He finally selected steel, and on a plate of this
metal he engraved after George CUnt a portrait of
Munden, the comedian, which proved a great
success. In 1822 he received the gold Isis medal
of the Society of Arts, as an acknowledgment of
the value of his application of soft steel to the
process of mezzotint engraving, and he was suc-
cessful in establishing the use of plates of that
metal. He worked both on steel and copper, and
produced some good plates after Sir Thomas
Lawrence, Sir Martin Shee, Thomas Phillips, and
other eminent portrait painters of his day. He
also re-engraved a selection of fifteen plates from
Turner's ' Liber Studiorura,' which were published
in 1858. Lupton died in London in 1873. Among
his more notable works are :
The Infant Samuel ; after Sir Joshua Reynolds.
The Milk Girl ; after Gainshorouyh.
Belshazzar's Feast ; after John Martin.
The Bddystone Lighthouse ; after Turner.
Sunrise— "Whiting Fishing off Margate ; after the same.
Newcastle-on-Tyne ; "j
after Turner, for the ' Rivers of
Eiicjland and TFales.'
Warkworth Castle ,
Dartmouth Castle ;
Staagate Castle ;
Whitby ;
Scarborough ;
Sheeruess ;
Dover ;
Bamsgate ;
Portsmouth :
86
after Turner, for the
Studiorum.'
Liher
■ after Turner, for the ' Forts of England.'
Solway Moss ;
Dunblane Abbey ;
Watercress Gatherers ;
Ben Arthur ;
Dumbarton ;
Ploughing, Eton ;
Calais Pier ; after Turner. (This plate, after several
alterations, was abandoned, and eventually sold in
Turner's sale at Christie and Manson's in 1873.)
Wellington at Quatre Bras ; aftn' Haydon.
The Poacher detected ; after Kidd.
Fawcett and Kemble in the characters of Captain Copp
and the King ; after Georye Clint.
The Widow ; after JRichter.
The Idle Servant ; after W. Maas.
Dutch Boers ; after D. Teniers.
The Passage Boat; after Aelhert Cuyp.
A Group of Cattle ; after the same.
poetbaits.
George IV. ; after Wivell.
Lord Byron ; after Thomas Fhillips.
Wordsworth ; after Haydon.
Lord Cottenham ; after Briggs.
Sir Walter Scott ; after G. Lindsay.
Lord Brougham ; after Lonsdale.
LUSUPJER, Cathemne, was a pupil of Hubert
Drouais, and painted portraits in his style. She
died in Paris in 1781, at the age of 28. In the
Louvre is a portrait by her of Jean Germain Drouais
drawing, on the right-hand corner of which is
inscribed, " JEtaiis sum xv Jjusurier pint."
LUTERO, Giovanni di. See Dossi.
LUTI, Benedetto, was born at Florence in
1666, and was for some time a scholar of Antonio
Domenico Gabbiani. On leaving that master he
was favoured with the patronage of the grand-
duke ; and expressing a strong desire to visit
Rome, his protector promoted his wishes by sup-
plying him with the means, and accommodated
him with apartments in his palace in the Campo
Marzio. He there studied under Ciro Ferri, and
from the works of the great masters. It is to
be regretted that this able artist sliould have
occupied so much of his time in crayon drawing,
so transient in its nature, as he possessed powers
for superior performances. One of his earliest
works at Rome was his picture of the ' Death of
Abel,' wliich was publicly exhibited on the festival
of St. Bartholomew, when it excited universal
admiration by the sublimity of the composition
and the characteristic expression in the head of the
murderer. He was commissioned by Clement XI.
to paint his fine picture of 'The Prophet Isaiah'
in St. John Lateran, and other works, for which
the order of the Cross was conferred on him. He
was also knighted by the Emperor, and ennobled
by the Elector of Mentz. He died at Rome in
1724. The following paintings by him are in
public galleries :
Cassel.
Gallery.
The Virgin reading.
Darmstadt.
Gallery.
Moses receiving the Command-
ments on Mount Sinai.
Dresden.
Gallery.
Head of Christ.
j»
J)
The Virgin.
Florence.
Vffizi.
Moses on the Bank of the Nile.
)»
His own Portrait.
Genoa. Spinola Fat.
The Virgin.
Munich.
Gallery.
St. Charles Borromeo.
Paris.
Louvre.
The Magdalene.
Petersburg. Sennitage.
The Sleep of the Infant Jesus.
»
»
The Magdalene.
)}
A Young Man.
Pisa.
Cathedral.
St. Eanieri.
Rome. Colonna Palace.
The Glory of St. Martin.
Rotterdam.
Museum.
St. Anthony.
Lutke
PAINTERS AND ENGRAVERS.
Lutzelburger
There are two etchings by this artist, which have
become scarce :
The Oriicifixion, with St. John and the Magdalene at
the Foot of the Cross.
A Landscape ; after Guercino.
LUTKE, Peter Ludwig, a German landscape
painter, was born at Berlin in 1759. He was
originally a merchant, but in 1785 he devoted
himself to painting, and going to Italy, studied
under Philipp Hackert in Rome from 1786 to 1787.
He decorated a room wholly with his landscapes
in the Marble Palace in Potsdam. In 1787 he was
created member of the Academy, and in 1789
professor of landscape painting. He died at
Berlin in 1831. A picture of ' Baias ' by him is
. in the National Gallery of that city.
LUTMA, Abrahait. There is an engraved
portrait of Rubens, after Van Dyok, by this artist,
but there is no account of him.
LUTMA, Jacobus, was of the same family as
Janus Lutma. He etched and finished with the
graver a set of plates of ornamental shields and
foliage ; they are executed in a neat style, from
the designs of Janus Lutma the elder. He also
engraved a plate of three portraits in a frame,
inscribed, Jan Lutma d'Oude inv. Jac. Lutma
fecit aquaforti et exc.
LUTMA, Joannes, or Janus, the younger, a
Dutch engraver and goldsmith, was born at Am-
sterdam in 1629, and was a son and probably pupil
of Janns Lutma the elder, who was a goldsmith.
Janus the younger died at his birthplace in 1689.
There are by him a set of four portraits represented
as antique busts, which are executed in a peculiar
manner, with a punch or chisel, and a mallet~; this
he called ' opus mallei ; ' also two portraits of his
father and himself, engraved in the style of Rem-
brandt, and some views of ruins, &o. in a style
executed with the point, and assisted with the
mezzotint tool. In the Amsterdam Museum is a
portrait of Paulus van Vianen, a goldsmith.
LUTTEREL, Edward, was born at Dublin
about the year 1650. He came early in his life
to Loudon, and was trained to the law in New
Inn ; but having a disposition for the arts, he
. abandoned the profession, and applied himself
to taking portraits in crayons. He studied under
Ashfield, and practised in crayons successfully.
He possessed an inventive mind, and observing
the admiration excited by the new art of en-
graving in mezzotint, he was desirous of dis-
covering the process, and contrived the means of
laying the grounds with a roller, which succeeded
to a certain degree, but not to his satisfaction. At
this time, the mezzotints of Blooteling were in
great repute, and Lutterel persuaded his friend
Lloyd, a printseller, to bribe a person of the name
of Du Blois, who used to lay the grounds for
Blooteling, and who was then returning to Holland,
to discover the mystery. He afterwards connected
himself with Isaac Becket, and they became the
earliest BngUsh engravers in mezzotint. He died
about 1710. The best of his portraits, which were
his principal works, was that of Le Piper, the
painter. The following, also, are by him :
CRAYON DRAWINGS.
Samuel Butler. (Kational Portrait Gallery.')
William Sancroft, Archbishop of Canterbury. (The
snme.)
George Morley, Bishop of 'Winchester. (The same.)
ENGRAVINGS.
Charles II. ; after Lely.
Barbara, Duchess of Cleveland ; after the same.
Arthur, Earl of Essex ; after the same.
Robert Paston, Earl of Yarmouth.
Oliver Plunket, Archbishop of Armagh^
Anthony, Earl of Shafresbury ; after Greenhill.
■William, Viscount Stafford ; after his own design,
George, Lord Jeffreys, Lord High Chancellor.
Hamet Ben Hamet.
Robert Cony, M.D.
LUTTGENDORP, Ferdinand von. Baron, a
painter and etcher, was born at Wiirzburgin 1785.
He studied under Seidel and Hauber at the Academy
of Munich, and from 1805 to 1809 at that of Vienna.
He gave lectures at the University of Erlangen,
and subsequently resided at Prague, Vienna, Pres-
burg, and Munich, where he died in 1858. His
best works are :
Portrait of General Moreau.
His own Portrait. (Herr H. Majsch, Vienna.)
Thirteen altar-pieces for different churches in Hungary.
He also etched 125 portraits of the Hungarian
Reichstag.
LUTZ, Peter, a German painter and line en-
graver, was born at Munich in 1797. He studied
painting at the Academy of his native city and
under Johann Peter von Langer, but in 1821 he
turned his attention to engraving, and became a
pupil of Karl Hess. He died in 1867. The fol-
lowing are his chief plates :
La Madonna di San Francesco ; after Coi'reggio.
Ecce Homo ; after Raphael.
The Virgin and Child ; after the same. (Heads from the
' Madonna di San Sisto.^)
Two Angels ; after the same. {Also from the ' Madonna
di San Sisto.')
Christ bearing His Cross; after the same. (From the
* Spasimo,^)
The Virgin in Glory, with Four Saints ;. after Bayna-
cavallo.
The Virgin and Child ; after Barocci.
St. Agnes ; after Bomenichino. (Reduced from the en-
graving by Sir Robert Strange.)
Ganymede ; after Titian.
Judith ; after A. Riedel.
Roman Woman of Albano ; after the same.
The Virgin and Child ; after R. von Langer.
The Magdalene in the Desert ; after ,T. P. von Langer.
Lady Jane Grey in Prison ; after the same.
Tyrolese "Woman ; after G. Bodm^,
LUTZELBURGER, Hans, called also Hans
Franck, one of the greatest of German engravers
on wood, was born probably at Augsburg about
1495. Like Holbein, he appears to have gone
from Augsburg to Basle in 1522, and he died there
in 1526. His best known woodcuts are those from
the designs of Holbein — especially the figures of
the Old Testament and the ' Dance of Death.' The
whole series of the former and forty-one out of the
fifty-eight cuts which compose the latter are by
him. They were first printed in 1630, but were
not published until 1538. He is believed also to
have assisted in engraving ' The Triumph of the
Emperor Maximilian,' after Hans Burgkmair ; and
his name of Hans Franck is supposed to be
identical with that of ' Jan Franck,' who lived at
Nuremberg, and worked for Albrecht Diirer. He
marked his woodcuts with his name, or H. L.
FUR. (= Furmschndder, form-cutter). Among
his other works after Holbein are :
Fight between Peasants and naked Robbers in the
Forest ; after Solbdn. 1 522.
The Title-page, containing Figures of St. Peter and St,
Paul, for the German New Testament printed at Basle
by Adam Petri in 1522.
87
Lutzenkircheu
A BIOGRAPHICAL DICTIONARY OF
Lyveng
The Title-page, containing the Baptism of Christ, for the
German New Testament printed at Basle by Thomas
Wolff in 1523.
Portrait of Erasmus.
The Sale of Indulgences.
Jesus Christ and the Pope.
An Alphabet:— The Little Dance of Death.
„ Dance of Peasants, &o.
„ Children Playing.
„ Ornamented Initials.
Death and the "Woman. (Albertina Collection, Vienna.)
1525.
LUTZENKIROHEN, Petee Joseph, born at
Cologne in 1776, was a painter and an engraver in
mezzotint. He studied at the Academy of Diissel-
dorf, but afterwards returned to his native city, and
eventually, in 1810, established himself at Frank-
fort, where he died in 1820. Among his paintings,
which are signed with his name or P. L., are the
portraits of Merlo and of Dr. J. G. L. von Pempel-
f urt (engraved by Bierweiler). His best plates are :
Thomas feeling the Wounds of the Saviour y after Liiea
Giordano,
Mary with the Child Jesus ; after Leonardo da Vinci.
Bust of an old Man ; after Ary De Vms.
Bust of Baron von Stein.
LUTZOW, Karl Hindrick D'Unkeb Henning.
See D'Unkeb Henninq LiJTZOW.
LUXAN MARTINEZ, Josef, was born at Sara-
gossa in 1710, and was brought up by the family
of Pignatelli, and sent to Naples in 1730 to study
under Giuseppe Mastroleo. After five years he
returned to his patrons, and practised portrait
painting. In 1740 he married the daughter of
Juan Zabalo, a painter, and went to Madrid on
being made painter to the King. The Inquisition
of Saragossa named him inspector of pictures,
and he had the principal share in maintaining a
school of design, afterwards promoted to the rank
of a Royal Academy. He died at Saragossa in 1785.
The Cathedral, Santa Engracia, and other churches,
were adorned with his works, which are commended
by Cean Bermudez for their agreeable colouring.
LUYCX, FeANS, almost forgotten in his native
country, and better known beyond it as Leux, or
Van Leux, was born at Antwerp in 1604, and
became a master painter in 1620. He studied
under Rubens, after whose death ho went to
Vienna, where he was appointed court painter to
the Emperor Ferdinand III., and director of the
royal collections. He returned to Antwerp in 1652,
but went again to Vienna in the same year. The
date of his death is not recorded. There are by him
in the Vienna Gallery an ' Allegory on the Vanity
and Instability of Human Affairs ' and a portrait of
the Cardinal Infant of Spain, Charles Ferdinand,
brother of Philip IV., and in the Liechtenstein
Gallery is ' Christ appearing to Mary Magdalene.'
LUYKEN. See Luiken.
LUYKS, Nicolas, a German historical and por-
trait painter, was born in 1600, and died in 1658.
LUZZI, LoEENZO, a native of Peltre, who
flourished about 1511, is not to be confounded with
Pietro Luzzi. There is a picture by him in the
Berlin Gallery of the ' Virgin and Saints.'
LUZZI, Pietro, called Mobto da Feltre, who
was born about 1474, was the son of a surgeon,
who in order to practise his profession went in
1476 to Zara, and thus caused his son to be called
also Zaeato. He is known to have been at Rome
in 1495, at Florence in 1506, and at Venice in 1608,
although none of the pictures painted by him in
either city are now in existence. He commenced to
paint at Feltre in 1516, soon after that city had
88
been nearly destroyed in the wars between the
Emperor Maximilian and Venice. Records remain
to prove that he executed the frescoes and the altar-
piece of the Town-Hall and Loggia, all of which
are now missing. The Casa Bartoldini and the
Crico Palace, Feltre, are both decorated with fres-
coes that Messrs. Crowe and Cavalcaselle assign to
Luzzi. In the church of the Ognissanti at Feltre is
a fresco with the 'Transfiguration of Christ, between
SS. Anthony and Lucy,' which is said to have been
painted by Luzzi in 1622. The story of his having
been killed in battle at Zara in 1519 must of course
be abandoned. His extant works comprise :
Berlin. Gallery. Madonna.
Feltre. Palazzo \ The front decorations, represent-
Crico. ) ing Nymphs and Cupids.
„ Casa Bartoldini. Decorations of the facade:
Judith, Quintus Curtius, and
Komulus and Remus, in the
style of Giorgione.
„ S. Stefano. The altar-piece.
„ Town-Sail. Several paintings.
„ S. Giorgio. Several different treatments of
the Madonna.
„ Ognissanti. The Transfiguration of Christ.
Villabrana. Church. The Virgin and Child, with Saints.
LYEN, Jacques Francois, was a French portrait
painter, who exhibited atthe Salon from 1737tol747.
LYMANN, Johannes Samuel, a Danish line en-
graver, was born at Copenhagen in 1742. He
studied in the Art Academy of his native city, and
in 1758 gained the large gold medal for an engrav-
ing of ' David cutting ofE the Head of Goliath,'
after his own design. Most of the plates which he
executed are portraits. He died in 1769.
LYNCH, James Henry, a lithographic artist, exe-
cuted principally portraits, which he exhibited atthe
Royal Academy from 1866 to 1866. He died in 1868.
LYNB, RiCHAED, was a painter and engraver,
who lived in the second half of the 16th century,
and was retained by Archbishop Parker on his
establishment. There is a portrait of this prelate
by him at Lambeth Palace, dated 1672.
LYONET, PiETBE, a draughtsman, carver, and
engraver, was born at Maestricht in 1708. He re-
ceived a superior education, and was first a lawyer.
One of his first and best carvings was ' Apollo and
the Muses.' Subsequently he became acquainted
with Karel De Moor and Limborch, under whom
he produced excellent craj'on portraits. At a later
period he drew and engraved insects with extraor-
dinary accuracy, and by these works he obtained
much repute. He died at the Hague in 1789.
LYS, Jan van deb. See Van deb Lis.
LYSARDB, Nicholas, was an historical painter,
who was in the service of Henry VIII. and Edward
VI., and subsequently became sergeant-painter to
Queens Mary and Elizabeth. There is a portrait
at Hatfield House of one of the French kings,
which is ascribed to him. He died in 1570.
LYSONS, Rev. Daniel, an antiquarian draughts-
man, was born in 1760. Many of the illustrations
in his well-known ' Environs of London ' (1792-6)
and 'Magna Britannia' are by him. He was rector
of Rodmarton from 1804 to 1833, and died at his
seat, Hempsted Court, Gloucestershire, in 1834.
LYSONS, Samuel, an antiquarian draughtsman,
was born at Rodmarton in 1763. He studied for the
bar, but devoted himself to antiquarian pursuits,
and became keeper of the records at the Tower. He
illustrated his 'Roman Ruins at Woodchester'
(1797) and ' ReliquiiB Britannic^ Romanse' (1813).
He died at Cirencester in 1819.
LYVENS, Jan. See Livensz.
Maag
PAINTERS AND ENGBAVERS.
Macerata
M
MAAG, JoHANN Nbpomuk, engraver, was a
native of Munich, where he flourished in the last
century. He engraved several portraits, amorg
which was one of William of Ockham, He died
at Munich in 1800.
MAAN. See Db Man.
MAAS. See Maes.
MAAT, Jan. See Blankehhoff,
M ABUSE. See Qossaert.
MABUSEE, Nicolas Ranieri, an Italian paintei,
who flourished in the 17th century. He was a
pupil of Manfredi at Rome, and painted historical
pictures. His four daughters were also artists,
and met with considerable success at Venice.
MacARDELL, Jambs, an admirable mezzotint
engraver, who was born about the year 1710 at
Dublin, and is justly regarded as one of the ablest
of workers in his branch of art. He was appren-
ticed to James Brooks, with whom he came to
London when he was seventeen. He died in
London in 1765. The number of his plates is
very considerable, and the greater part are from
portraits of persons of distinction by the principal
painters of his time. He also scraped a few plates
from historical subjects by Vandyok, Murillo,
Rembrandt, &c., some of which are extremely
fine. The following may be considered as his best
plates :
PORTRAITS.
Mary, Duchess of Aucaster ; after Hudson.
George, Lord Anson ; after Reynolds.
Dr. Ashton ; aftei- the same.
William Benn, Lord Mayor ; after Hudson ; scarce.
Timothy Beunet ; after Budd ; scarce.
The Countess of Berkley ; after Rei/nolds.
Vice- Admiral Boscawen ; after the same.
Archibald Bower ; after Knapton ; scarce.
George, Duke of Buckingham, and his Brother ; after
Vandyck; from the picture at Kensington ; very fine.
Mary, Countess of Coventry ; scarce.
The Countess of Essex ; after Reynolds.
Francis du Quesnoy, called Fiamingo, sculptor ; after
Vandyck,
Lady Fortesoue ; after Reynolds.
Dr. Franklin ; after Wilson ; scarce.
Mr. Garrick and Mrs. Cibber, in Jaffler and Belvidera in
Venice Preserved ; after Zoffany.
Elizabeth, Duchess of Hamilton ; after Cotes.
Daniel Locke ; after Hoyarth ; fine.
Caroline, Duchess of Marlborough ; after Reynolds.
John Pine, painter ; after Hogarth ; with and without
hands; scarce.
Bubens's "Wife ; after Vandyck ; fine.
Kachel, Countess of Southampton; after the same;
yery fine.
Lord John and Lord Bernard Stuart ; after the same ;
very fine.
James, Earl of "Waldegrave ; after Reynolds ; scarce.
Mary, Countess of Waldegrave ; after the same; fine.
General Washington ; after Pond ; scarce.
SDBJECTS AFTER VARIOUS MASTERS.
The Virgin and Infant Jesus ; after Vandyek.
The Infant Moses found in the Nile by Pharaok's
Daughter ; after the same ; very fine.
Time clipping the Wings of Love ; after the same ;
very fine.
The Interior of a Chamber, in which is a Woman read-
ing, and a Child in a Cradle ; after Rembrandt ; fine.
The Angel and Tobit ; after the same.
The Tribute Money ; after the same.
Rembrandt's Mother reading ; after the same.
The Student in Mathematics ; after the same.
Rubens, his Wife, and Child ; after Rubens.
The Virgin, with a Glory of Angels ; after Murillo ;
fine.
St. Jerome kneeling before a Crucifix ; after the same ;
fine.
St. Francis da Paolo ; after the same.
MACARB, Pierre Joseph, a French still-life
painter, who was born at Valenciennes in 1758.
He was a pupil of Watteau, whose style he
imitated. He died in 1806.
MACCHI, Flouio, is mentioned by Malvasia as
a native of Bologna, and a worthy disciple of
Lodovico Carracoi. He flourished about the year
1620, and painted several pictures for the churches
at Bologna. In Sant' Andrea del Mercato is a
picture by him of the ' Crucifixion,' with two
wings ; and in La Morte, a ' Raising of Lazarus. '
But his most admired work is a fine fresco of the
' Annunciation,' in the church of II Spirito Santo,
which has been frequently mistaken for a work of
Lodovico. Florio Macchi is mentioned by Orlaadi,
in the ' Abecedario,' as an engraver, but his prints
are nowhere specified. His brothers, Giovanni
Battista (died 1628) and Giulio Gesaee, were
also pupils of Lodovico Carracci.
MACGHIETTI, GiROLAMO, (or Maglietti,) called
Del Crocifissajo, was born at Florence about
1535. He was called ' del Crocifissajo,' from his
having been an extensive painter of crucifixes.
After studying some time under Michele Ridolfo
del Ghirlandaio, he became a scholar of Giorgio
Vasari, whom he assisted for six years in the Ducal
palace at Florence. Pie afterwards visited Rome,
where he studied ' two years, and then went to'
Spain, and after that to Naples. On his return to
Florence, he acquired considerable reputation by
his pictures of the 'Adoration of the Magi,' in
San Lorenzo, of the ' Martyrdom of St. Lawrence,'
in Santa Maria Novello, and of 'Medea and the
Daughters of Pelias,' in the Grand Ducal Palace.
His best works are at Naples, Pisa, and Benevento,
but those in the last-named place perished in an
earthquake in 1668. The year of his death is
unknown, but he was still living in 1564.
MACCO, Alexander, historical painter and
etcher, was born at Ansbach, in Bavaria, in 1770.
He studied at Munich, and afterwards at Rome.
He then travelled to Paris and through Germany,
spending some time at Berlin, Prague, Hamburg,
and Vienna. His works were in the style of
David.
MACBDO. See Clovis.
MAC!^B, Charles, a French engraver, born in
Paris about 1631. He was employed by Jabaoh
in engraving from his collection of pictures ; he
also engraved twelve landscapes after Castiglione.
He died after 1665.
MACBRATA, Giuseppino da, was born at
Macerata about the year 1600, and is said to have
been a pupil of Agostino Carracci. His style
betrays the principles of the Bolognese school,
as is evident in his works in the two colleges at
Fabriano — in the ' Annunciation,' painted in*oil, at
San Niccolo ; and in his frescoes in San Venanzio
representing some of the miracles of the Aposlles.
89
MoCormell
A BIOGEAPHICAL DICTIONARY OF
Macip
In the church of the Carmelites at Macerata is a
picture by him of the ' Virgin and Infant, with a
glory of Angels, and SS. Nicola and Girolamo';
and at the Cappuccini, ' Christ giving the Keys to
St. Peter,' both of which are stamped with the
character of the school of the Carracci. The latter
is BO like Guide's picture of the same subject, in
the church of the Pilippini at Fano, that it may
almost be considered as a copy. It is signed Jos.
Ma. faciehai. 1630.
MoCONNELL, W., known as an illustrator of
books, died in 1867. Amongst his work may be
mentioned the illustrations to Sala's 'Twice round
the Clock.'
McCULLOCH, Horatio, a Scotch landscape
painter, born at Glasgow, of humble parentage, in
1806. He received his art instruction from a
landscape painter named Knox, and worked dili-
gently for some years on the scenery of Western
Scotland. Removing to Edinburgh, he was in
1834 elected an Associate, and in 1838 a member
of the Scotch Academy. Here he was a frequent
exhibitor, but only once appeared at the London
Academy, namely, in 1844. His art, though merit-
orious, and fairly true to the scenery of his native
country, is somewhat conventional, and but little
known south of the Tweed. His pictures are
very plentiful, however, in Scotland. He died at
Edinburgh in 1867. Three of his works — ' Inver-
lochy Castle,' 'A Lowland River,' and an ' Evening
Landscape ' — are in the Scottish National Gallery.
MACDUFF, Archibald, an English etcher and
sketcher, bom about 1750, who probably did not
follow art as a profession. Amongst his etched
plates are :
The Temptation of Adam ; after Barry.
Job and his Friends ; after the same.
The Birth of Tenus ; after the same.
King Ijear ; after the same.
Holy Family ; after Maphael.
MACHADO, CiRiLLO, painted at Lisbon, and
was a professor at the Academy there early in
the present century. He distinguished himself
principally in portraiture, and is further known for
his knowledge of architecture and science. An
attack of apoplexy made hira unfit for work in
1827. His best works are in the Palace at Mafra,
and in that of the Marquis de GouW, but an altar-
piece for the church of the Heart of Jesus, and
paintings of the Apostles for the church of Goletto,
may also be mentioned.
MACHEK, Anton, was bom at Podlaczicz, in
Bohemia, in 1771. He was apprenticed by his
father, who was a musician in the private chapel
of the Bishop of Koniggratz, to a cabinet-maker,
but showing a talent for art, he was sent to Prague.
There he studied under Wenzel Bluma, and a year
after under Ludwig Kohl. He afterwards re-
turned to Koniggratz, where he painted two altar-
pieces for the chapel in Grast, and several works
for the Bishop's residenoa. In 1798 he went to
Vienna and studied at the Academy for a year.
He then travelled through the country, supporting
himself by portrait painting. In 1806 he settled
in Prague, where h« died in 1844.
MACHEEEN, Philipp van, a marine painter,
lived at Middelburg towards the end of the 17th
century. In 1672 he entered one of the vessels of
war of the republic, for the express purpose of
seeing»a naval combat, a subject which he delighted
to represent. He also made several voyages in
Danish and Swedish vessels for the same purpose.
90
His works are rarely seen with his name, nor are
there any further particulars recorded of him.
Balkema says he died at Amsterdam, and Immerzeel,
at Rotterdam.
MACHIAVELLIjZenobio DB',an excellent early
Florentine artist, who is mentioned by Vasari as
the best of Benozzo Gozzoli's pupils. He assisted
Benozzo in his frescoes in the Campo Santo at
Pisa. The Gallery of the Louvre possesses a
' Coronation of the Virgin,' by Machiavelli, bear-
ing the date 1473. The Pisa Academy has also a
'Virgin and Child, with Saints,' by him, and the
National Giillery of Ireland an ' Enthroned
Madonna, with Saints.'
MACHUCA, Pbdbo, a Spanish painter, sculptor,
and architect of the 16th century, who is spoken
of in high terms by several writers, but whose
works are little known. It is said that he lived at
Granada, and that he there executed several grand
works both as an architect and as a painter, the
latter being in the manner of Raphael, whose works
he had studied in Italy. It is certain that he had
been to Italy ; for he is named among the Eagles,
that is to say, the most illustrious artists of the
time, by Francisco d'Ollanda, whose book was
finished in 1648. Zani says he flourished between
1527 and 1548, and probably to a much later
period. Pachecho, Lazaro Diaz del Valle, and
Palomino, all speak of Machuca having been in
Italy. His fame now rests on his works of sculpture
and architecture in the Alhambra.
MACHY, Pierre-Antoinb de, bom in Paris
about 1722, was an excellent painter of architec-
tural perspectives. He studied under Servandoni.
There are by him in the Palais Royal, on the large
staircase, three perspective views ; and a picture of
the ruins of a Temple is at Valenciennes. Basan,
Janinet, and Descourtis reproduced his best works.
He engraved a Triumphal Arch and two archi-
tectural pieces in bister after his own designs. He
died in 1807.
MACINI. See Mancini.
MACIP, ViCENTB Juan, called also Juan Bau-
TISTA DB JiTANBS, Or JoANNES, was bom at Fuente
de Higuera, in Valencia, in 1523. Palomino asserts
that he was a pupil of Raphael, who died two
years before he was bom. But he certainly studied
in Italy, and caught some of the Urbiuate's manner.
After his return to Spain he settled at Valencia,
where he established a school of painting. His
brush was wholly dedicated to religious subjects.
He designed a series of tapestries for the Arch-
bishop of Valencia, and was much employed in the
different churches and monasteries of the neigh-
bourhood. His most famous picture was a Madonna,
called ' La Puriseima,' painted for the Convent of
the Jesuits. Macip died in 1679. The following
works of his are now extant :
Madrid. Museum. Preaching and Martyrdom of
St. Stephen.
„ „ The Bearing of the Cross.
„ „ Portrait of Don Jjuis de Cas-
telvig.
,, „ The Last Supper.
Valencia. Cathedral. Baptism of Christ.
„ „ Conversion of St. Paul.
,1 „ Holy Family.
„ Museum. A Christ.
„ „ Portrait of St. Thomas de
Villanueva and Abp. Juan
de Bibera.
•I „ Assumption of the Virgin.
,< „ Francis de Paula.
„ Ch. of Jesuits. The Immaculate Virgin.
Xclan
Talacm.
TilSanoenL
PADTTEES AXP EXG RAVELS.
Haclisa
A jPmin. The Dead Cli-:>i.
Martrrdom of 5-r- 1t:«.
_ Bual of a devout 3[<nk.
The paintings of Maeip'; dangfateis, Dokctea and
MiT.^AirrA. aie t&ei; nttiihatel to tli«r father.
Dorotea | .'l^: :«d an exedlenk 'Oncifinon^ in the
efaoKli i -lie Ss- :j Otuz, Valencia.
JIclAX, K iBEKr fiiuiixn, a Svocrfl; snbjeet-
painier, bon< in I f>i$. He \raf otiginal.y an actor,
and indulged in art s^ a pasiime. From :n.'.^
<.r.w.5.r.'.f l.< j x"r,:rif.5 appealed on the xrJIs of ilie
Acadec-T. and at length, in If-tC', he ;.ticr:<-.i
paintii^ ?..> a professioD. His ji;1:;^i^ci* -weit r Licf.y
uhetiaiiTe of Highland lufe and w£ai«. He \r;.<
a manber of the Koyal Sco".:i«li Ac.*i;<?raT. He
d;ed at H.ii-.:j*:c,-.d in 155(5. E:s wife was ;ilio
an aitisi, and tangfat for >'-.i:.T yewns in ^:Lr of tiir
goTwmmem schools oi c ; > "^-.i.
MACKESJlT.FREi.ES^cs. awateiKN^! .^uTpainter,
«^e bom in ITf 7. He was a pnpil if Et jton, and
was :. t :«■! i-yr ;i< conscieatioas drawir s? i f ancient
buildings. i;!::>:1t ecrftsi.nsiijaL He exhibited ..;
the Boyal Aewlany £ar the fiirsi time in 15<ivi. and
■with the Water-Odour Swirty in l5-j'. heii.g
dected tieasaiier of that iufdnirio:: in IhSc. He
i*. paUidied seTeral w^Af. 3E2CEg?T ctifrf ;
•Etclnngs cf Landscapes,' •Sfrvh.f: * of Gothic
Aiclutecraie.' and ' Ajehitectnial Antiqiiiiies of
Ss. S-Tejliem's C3>apel, "Westnii^rsl^T." He al?«> made
the dnvings &w Biitton's •Saisbury CatliediaL"'
He died in : n"^ ax the age of £7.
lIACKESZrE,SA3n:Ki. s S :-..:i poitiait punter,
vasbom at Oomarty in 1755. He vas <HiginaIIj
a stooe-carrer, bat c«uiiing to Edinboigfa, he was
inspiied by Baefaora's vre-rkis. ^r. .1 became a poitnoi-
painter. He obtained a good |r'raciic>c. and was in
11^30 elected a member «rf the Sc-onisi Aeadeniy.
He died in 1'547.
IIACEEWAX.Datio HAU^watear-odoarpainter,
waf bom in I5i7. He eshibited drawings at the
Key.'.! Ac»iseEiy fri'o-j ls57 it' 1S4?, and at SnffiaJk
&. tjvn; '1 5+i< to i 544. In 15-15 he was elected a
H8emberoftlK'liKtitBteofPaintBrsi::''kV"i,itr-C-i ;v;;rf,
to which fnau 154iCi he w;.> a large contributor.
He poblkbed ' Lessons on Tret» in Wat^'-Cblouis.'
He died in 1^573.
MACELXX. Thc MAS. an Erglish engniTv in Uie
latter part of the 18tfa centnnr. He eiigiaTed
Gnerdno's 'Peace and War.' aSod die plates for
MACLB^K, Axjix&XDES, an English eobject
puider, who exhibited at tli^ Bejal Academy from
157^ to 1877 ; he died at St. Lee i;«a\i s in the latter
jear, aft^ Bhowcog mneh promise.
IIACLKAT, KiixxsrH, a Scotch landscape and
miniatme painter, bmn in 1802 at Oban. He -»-&>
a Bi^iluida' by iMrtb, bat was edneafed and Ured
at Edinborgfa, whoe he became a niauber of the
S. ~'s" Academy. He died in 1575.
iUACLEOD. JOEX, a Soctdi s:vjij;J painter,
jwaclisiTLg at Ediubnigh. w";_os* forte was diogs
i: 1 hoises. He died in 157'2.
JilACLISK. Dasibi^ bom at Cork on the 23tb
Jannaiy. 1811, wsj the s^cn ci a ScLiiisi £itfaer
and an Lndt mother. S.Kr dosb:? haTC been
thrown imon the $~:atiii$ of his &niily by incon-
sistaKaes between bis own fjs$erni'>r> and recorded
&et^ bat it is known that, in ^t ire of the 8tn»g
inclination be had already $3:o\rii fiit art, he
was ]^aced by his father at an early age in the
office of s ba iki. i: fimi at Coik Bm hi? natural
bent vras not to l>e fra?ir:neil &» be j ^on ;.fif r
left il-i ies's. and demoted Lrn.sr^f to r^iiErii: j^. He
£tsi pnrsaed his studies at ;: e Cott S. Lo 1 of Ait,
and received iEStruouou in anatomy from Dr.
Woodroffia. T: tiis branch oif s:i;5y ie devoted
jT-ea: attention, and tins laid the fc'uriarioa for
i ii f.]tHre escdOence in figure ars^:::^. He i-iiiei
mach popularity and many l,ne:Dd<::;
natsTe city; and a skt:::. of 5ir TV;
created ;
por-rut
ib'r }.im
Loud oil.
IE JllS
er Seen
s St r.sa-.i. - that he soon secured many
: I Bi^isji : E5 for portraits. In l--2ii he made aa
ci.ursi::! into the charming ocur.:y of Wk"£]:\r,
wijeiie he found ample employment far :
On his return to Cork he continued li;
pracjioe until he "i.Aii saved enough lo e:
to gratify ti? dciire <i proceedinir io
ArriTingin the n.etrop-. ]:< in July, li5'"27. he e'lcrei
the sdiools of die Ec\»l AcsiiriT.y. and •::<ii
became one of their most liisriciniisljeii st~df:,t>.
He obtained the sliver i:-j<Ma!s in boi]j tLe life and
the y-iiniiig- schtx^ls. and crowned lus career "br
oibtairiBi: tie ec'ld medal, in 152;\ for t:s -CLou-e
of Hercules.' This iistii criori entitled him to tlie
tniTelKng studentship <i tie Academy, of which
privilege, howcTO-, he did cot avail huuseU. In
the year 15^ Madise'f ^>-crks lirsi appeared on
the walls cf tie Royal Academy: he exhibited
•MalrcJio affectii^ the Coiini.' a snbject which
found cirjy'^oyn-^eTjT for Lis bnisli a sieond time
in 1544>. Sevrril portraits were exhibited by
bim in the next year (i--;^L''. and aniorcst them
liHe of the unfortanate Miss Landon (L~ E. L),
wl.i:>se aoquaintance he had made in the literary
circles to which he had obtained introduction
soon after his arrival in Lcsudon. He also pro-
duced a portrait of Sir John Scaje. the architect,
to which, for various causes, coiisideiaWe atten-
tion was drawn. Mac&e was thus induced to C' e-
tribute TO • Fr.».s*T"s Magarane,' from IK^J t. "I'c-^.
a series of eii^hty-ca^e sJceiches cf eminent perS' rs
of the <iay. each portrait bdng aoccnjp.ii.i- .i
by hnmoioas letter-press fmn the pen of Dr.
Uaginn. In the year 153o Maclise exhibited
• Si:ap»- Apple ^v^ipht " at the Boyal Academy. ar;<l
at. the British Ir.srii roon * Hokanna Un veilii 'i;
ing his Features tc Zelica,' fnun MoL-res • L.ula
Bookh.' c^iiaj: to the fame he obtained through
these pierurcs, he abandoned the practice of por-
trait painting, and had not Icrf to wait before he
aTT.air.e.i3 the full la^eir.bership o< the Academy, f ■ r.
eleoted A-B.A. in ICiOd, iie became E.A. in 1^-0.
In this yoar lie again visited Paris, and soon after
b^an to be connected with the decoration of the
new Hv-ases of Parliameiit. In J'lly, 1-544. six
artists were c c rai^Mssicne'l to paint sui -; t c! s for the
House of Lcrd?. Am.isgs;! j'Lese llaclise \v.-,s
assig^-.oii 'The S^^im cf Chiv.ilry,"' and aftetT^aris
' The Sf.irit of Juj^tic-e," which had previoBsly been
alWtte^i TO W. C. Thc-iijas. He .cftcr^Taras jiairited
the celebrated pictures vf "Tlie Meeting of Wel-
Hrgion and Blucher after Waterloo,' and the
companifm saljec-i. ' The Death of ye.son ' ; the
latter was liiiirhed in the year l5v-i. At iije
Poiris Exhibitior; cf 15S5 MaoKse w-as a jmor ; for
tliat hjcli in London in 15t<2 he desiin ,ed the inedaL
La 15w Uaclise gave soii.e vajc.bje evidence
before the Oommission on the Boyal Acaaemy.
Hie death of Sir Chailes £asiUke,*in 18^. ooia-
sior.ed a vacancy in tie presidercy of the Ac- de;; y.
and the office w;r.s. on its refusal by Sir £c~\vin
Lantiseer. oflfeied to Maclise, who also declined it.
91
Macnee
A BIOGRAPHICAL PICTIONARY OF
Madot
Similar motives appear to have influenced liim in
refusing to accept the honour of knighthood. His
health had been much impaired by his constant
attendance at the Palace of Westminster, and he
never wholly recovered the loss, in the latter part
of 1865, of his sister Isabella, who had always
lived with him, for he was unmarried. His death
occurred on the 25th of April, 1870, at his house
in Cheyne Walk, Chelsea. The shortest account of
Maolise would be incomplete which did not make
some mention of the books illustrated by him.
Chief among these were Moore's ' Irish Melodies,'
published by Longmans ; Biirger's ballad poem
' Leonore ' ; and Lord Lytton's ' Pilgrims of the
Rhine.' Under this category should also be
classed the series of designs for ' The Story of the
Norman Conquest,' which was exhibited at the
Royal Academy in 1857. The drawings in this
work are fort3'-two in number, and were executed
in the leisure moments of the twelve years previous
to their exhibition. The following are some of
Maclise's principal works :
Snap-Apple Night.
Mokanna unveiling his features to Zelica.
Macbeth and the Witches.
Merry Christmas in the Baron's Hall. {National
Gallery of Ireland.)
Olivia and Sophia fitting out Moses for the Fair.
The Banquet-Scene in Macbeth.
The Play-Scene in Hamlet. (In the National Gallery.)
Malvolio and the Countess. \The same.)
The Origin of the Harp.
Scene from ' Comus.'
Scene from * TJndine.'
Ordeal by Touch.
Noah's Sacrifice.
The Eeturn of Moses from the Fair.
Oaxton's Printing-Office at Westminster.
Macready as Werner.
The Marriage of Strongbow and Eva,
Orlando and Charles the Wrestler.
Peter the Great in Deptford Dockyard.
The Trysting-Place.
A First Sitting.
Isabella's Favourite.
Portraits of Mrs. S. 0. Hall, Miss Landon (L. B. L.),
Thomas Campbell, Lord Oastlereaghf Miss Hard-
wicbe, Charles Dickens, and others.
Interview of Charles with Cromwell.
Salvator Eosa painting MasauieUo.
Scene from ' Gil Bias.'
Alfred in the tent of Guthrum.
The Story of the Norman Conquest.
Othello, Desdemona, and Emilia.
The Sleep of Duncan.
King Cophetua.
MACNEB, Daniel, Sir, was bom at Fintry,
Stirlingshire, in 1806. His father dying when he
was only six months old, his mother went to
Glasgow, and there, as he showed a taste for
drawing, he was apprenticed in 1820 to John Knox,
a landscape painter. After four years spent in
Knox's studio, he was employed at lithographic
work, but at nineteen he removed to Cumnock,
where he was engaged to paint snufE-boxes. He
then went to Edinburgh, and entered the studio
of the engraver Lizars. At the same time he
enrolled himself a pupil in the Trustees Academy,
and in 1825 he first exhibited at the Royal Scottish
Academy. He was elected a member of that body
in 1829. He gained his reputation exclusively by
his portraits. In 1832 he returned to Glasgow,
and there remained till 1876, when, on his election
as President of the Scottish Academy, he removed
to Edinburgh, where he died in 1882. He was
an occasional exhibitor at the Royal Academy.
92
MACOUUT, C, is stated by Horace Walpole to
have been a native of Germany. He resided in
London several years, where he practised portrait
painting, both in oil colours and miniature, and
was a member of the Chartered Society of Artists,
with whom he exhibited from the year 1761 till
1767. In the 'Addenda' to the 'Anecdotes' he is
said to have died in January, 1768. He is also
stated to have scraped some mezzotints.
MACRET, Charles Feanqois Adkien, a French
engraver, was born at Abbeville in 1760, and died
in Paris in 1783. He was a pupil of N. G. Dupuis,
and engraved a few plates, of which the following
are perhaps the most important :
Christ and the Woman of Samaria; afteii^ Van der
Werf.
The Arrival of Eousseau in the Elysian Fields ; after
Moreau.
The Eeeeption of Voltaire in the Elysian Fields ; after
Fauvel.
The Sacrifice to Cupid ; after Greiize.
The First Fruits of Self-Love ; after Gonzalez..
MACRINO. See Fava, Gianqiacomo.
MADDEN, Wyndham, an English portrait
painter, who lived in the latter part of the l8th
century. There is a mezzotint after him by
Dickinson.
MADDERSTAG, Michiel, or Michael, (or
Maddersteg,) was bom at Amsterdam about 1669,
and is called by Houbraken the ablest scholar of
L. Bakhuisen. He was invited to the court of
Berlin, where he passed the greater part of his
life. In later years he returned to Amsterdam
and took to trade. He died in 1709. Two sea-
pieces by him are in the Berlin Museum. He was
a shipbuilder as well as a painter, and constructed
a frigate for King Frederick I. of Prussia, which
was afterwards brought to St. Petersburg. His
sea-pieces and storms approach so near to the
pictures of Bakhuisen in the drawing of vessels,
the movement of the waves, and the lightness of
the skies, that they are sometimes mistaken for
those of that master.
MADDOX, Willis, portrait and historical
painter, was bom at Bath in 1813. He executed
several works for Beckford of Fonthill, and first
exhibited at the Academy in 1844. He was invited
to Constantinople, and painted the Sultan. He
died at Pera in 1853.
MADER, Gborg, a painter, was born near
Steinacb, in North Tyrol, in 1824. His, father
was a miller, and he was apprenticed to the same
trade, but at a very early age displayed a taste
for drawing, and at sixteen he went to Innsbruck
to learn painting. From 1844 till the year of his
death he was actively engaged in adding to the
religious art of bis country, the years between
1867 and 1873 being employed in decorating the
church of Steinach with frescoes of scenes in the
life of Christ. Mader died in 1881.
MADIJN (or Madin). See Mandijn.
MADIONA, Antoine, an historical painter, bom
at Syracuse in 1650. He was a pupil of A. Scilla.
He afterwards went to Rome, and joined Preti,
whom he accompanied to Malta. He died in
1719.
MADOT, Adolphus M., figure painter, was a
student at the schools of the Royal Academy. He
executed a large number of drawings on wood for
a series of papers on ' British Artists,' published in
the ' Art Journal.' The few small pictures — figure
subjects — exhibited by him showed signs of future
Uadou
PAINTERS AND ENGRAVERS.
Maffei
ability, but he died of consumption, at an early
age, in 1861.
MADOU, Jean Baptiste, a Belgian lithographer
and genre painter, born at Brussels in 1796. In
early life he was engaged in commerce. Then,
turning his attention to art, he became a pupil of
Celestin Fran9ois, and studied in the Brussels
Academy. For several years he devoted himself
chiefly to lithography, and illustrated many works
in that fashion. Among these are : ' Un voyage
pittoresque dans les Pays-Bas' (1821-8); 'Cos-
tumes Belgiques' (1830); 'Costumes de I'arm^e
Beige'; 'Physionomie de la soci6t6 en Europe'
(1837) ; ' Scenes de la vie des Peintres de I'Ecole
Flamande \ (1840). After 1840, however, he chiefly
devoted himself to genre painting, in which he
achieved a high reputation. For several years he
taught in the Belgian military school. He died
in 1877. Several of his chief works are in the
museums of Brussels and Antwerp.
MADBAZO, Jos6, a Spanish portrait and his-
torical painter, born at Santander in 1781. He
was a pupil of Gregorio Ferro, but following
Charles IV. into France, he received lessons from
David, and afterwards went to Rome. He returned
to Spain in 1819, and established a National School
of Painting. He was Director of the Academy
and Museum at Madrid. He died in 1859. His
chief works are :
Christ before Annas.
Death of Viriathus.
Portrait of Ferdinand VII.
Sacred and Profane Love.
MAELLA, Mariano Salvador, a Spanish his-
torical, landscape, and marine painter, born at
Valencia in 1739. He studied painting under
Gonzalez and sculpture under Castro. He became
Director of the Academy of S. Fernando and
first painter to the king. He died at Madrid in
1819. Among his pictures are :
Madrid Museum. The Four Seasons.
„ „ The Ascension.
„ „ The Last Supper.
MAENNL. See Mannl.
MAES, Aaet van, Aknoolt, painter and en-
graver, was born at Gouda about 1620. He was
a pupil of Teniers. He travelled through Italy
and France, and died in his own country when
still young. He painted chiefly village festivals
and peasant scenes.
MAES, Dirk, painter and engraver, was born at
Haarlem in 1656. He was a pupil successively of
Mommers, Berghem, and Hugtenburg, but worked
in the style of the last. He painted hunting and
battle scenes, excelling chiefly in his horses. He
came to England, where he painted the ' Battle of
the Boyne,' and met with some success. His death
took place in 1717.
MAES, GoDEFROY, a Flemish painter, born at
Antwerp in 1649. He was a pupil of his father,
Godefroy Maes, who died in 1679, and of Pieter
van Lint. In 1682 he was appointed Director of
the Antwerp Academy. The 'Four Quarters of
the World,' four designs for tapestry, 'The Mar-
tyrdom of St. Luke and St. George,' an 'Assump-
tion,' and a ' Fishmarket,' at Venice, are his best
known works. He died about 1710.
MAES, Jan, the elder, born at Alkmaar in 1631.
He was a genre painter, but seems to have been
an amateur. He entered the Guild of St. Luke
in 1658. He painted in the style of Nicolas
Maes, but with far inferior talent. He died in
1693.
MAES, Jan, the younger, was born at Haarlem
in 1655. He was a son of Pieter Maes, and pro-
bably a pupil of Dirk Maes. He excelled in the
painting of horses, battles, and encampments.
He died in 1690.
MAES, Jan Baptist, a Flemish historical, por-
trait, and genre painter, born at Ghent in 1794.
He was the son and pupil of Maes-Canini, with
whom he is sometimes confounded. He completed
his studies in Italy, where he stayed from 1821
to 1826. Amongst his pictures are :
Amsterdam. Museum. The Good Samaritan.
Ghent. Academy. Holy Family.
Hamburg. Museum. Roman Fruit-seller.
Munich. IVemPinakothek. Roman Peasant praying.
Rotterdam. Museum. Apollo and the Muses:
MAES, (or MAAS,) Nicolaas, one of the best of
the Dutch genre pamters, was born at Dordrecht
in 1632. He studied under Rembrandt in Amster-
dam, and in his earlier pictures he followed his
master somewhat closely. About 1665 he left
Rembrandt's studio and removed to Antwerp, where
he lived until 1678. In that year he returned to
Amsterdam, where he died in 1693. This is all
we know of his life. The change in the style of
his later pictures is so remarkable that it has been
suggested that they are by another painter of the
same name, a notion that receives some support
from the fact that the signatures upon them are
oi'namented with flourishes which never appear on
his earlier and far better works. It is possible
that the Maes who returned to Amsterdam to die
in 1693 was the son of Rembrandt's pupil. Cer-
tainly no other example of so radical a change in
a master's style, both of conception and of execu-
tion, can be pointed to. Maes' early pictures are
extremely rare. Probably more than two-thirds
of them are in England. Tlie National Gallery
possesses at least three of the very highest quality.
The following are his chief works :
Amsterdam. Syks Mus. Old "Woman spinning.
„ „ Another Version of the same
subject.
„ „ Girl at a "Window.
„ Six Collection. The Inquisitive Servant.
Berlin. Museum. A Philosopher.
Brussels. Royal Musmm. An old "Woman reading.
Dresden. Gallery. Two Women in a Kitchen.
London. Apsley House. Selling Milk.
„ „ The Listening Girl.
„ Bridgewater Ho. A Girl threading her Needle.
„ Buckingham Pal. The Listening Girl.
„ National Gallery. The Cradle.
„ „ The Dutch House-wife.
„ „ The Idle Servant.
„ „ Portrait of a Girl (237 ; ascribed
to Rembrandt),
Petersburg. Hermitage. An Interior.
MAES-CANNINI, Jan Baptist Lodewyk, a
Flemish historical painter, born at Ghent in 1794.
He was a Professor in the Academy of Ghent. He
died at Rome in 1856. The Ghent Museum
possesses his chief works ; they are of no great
merit.
MAESTRO GIORGIO, II (or El Maestro
Jorge). See Ingles.
MAFFEI, Fbancesco, a painter and engraver,^
was a native of Vicenza, and at first a scholar of
Peranda, though he afterwards became a follower
of the style of Paolo Veronese. He died at Padua
in 1660. His picture of St. Anna, in the church
93
Magadan
A BIOGRAPHICAL DICTIONARY OF
IVIagnasco
of San Miohele at Vioenza, and other works by him
in the public palace, exhibit a poetical fancy, and
in colour are quite worthy of the Venetian school.
It is to be regretted that he adopted a hasty and
slight mode of execution, as many of his pictures
have already become nearly obliterated. Of his
large 'Paradise,' in the church of San Francesco
at Padua, scarcely a trace remains. He engraved
his own piotuie of ' The Death of St. Francis ' ; his
' Trials of Job ' was engraved by P. Monaco.
MAGADAN y GAMARRA, Jdan Cibilo, was a
miniaturist of some merit, and first secretary to
the Royal Academy of St. Ferdinand. He pub-
Ushed in 1743 a little book on his art, called the
' Amateur's Precious Torch,' and wrote some notes
on the various styles of painting, which were
published two years after his death. Neither of
these works, according to Cean Bermudez, possesses
much practical utility or literary merit. Their
author died in 1752.
MAGANZA, Alessandbo, the son of G. B.
Maganza the elder, was born at Vicenza in 1556.
After receiving some instruction from his father,
he became a scholar of Giovanni Antonio Fasolo,
and studied the works of Paolo Veronese and
Zelotti. His principal works nre the 'Adoration of
the Magi,' in the church of San Domenico at
Vicenza ; and the ' Martyrdom of St. Giustina,' in
San Pietro. He died in 1630 at Vicenza, of grief
for the loss of his two sons, Gibolamo and
Maecantonio, and of his grand-children, the sons
of Giovanni Maganza the younger, all of whom
died of the plague in the same year (1630).
MAGANZA, Giovanni Ba'itista, the elder, was
born at Vicenza in 1609, and was the head of a
family of artists, who did credit to their native
town. He was brought up in the school of Titian,
whose style he followed with some success ; but he
was more distinguished as a painter of portraits
than of historical subjects. He was one of the
reputable poets of the day, and published several
works under the name of ' Magagno.' He died in
1589.
MAGANZA, Giovanni Battista, the younger,
the son and scholar of Alessandro Maganza, was
born at Vicenza in 1677. He painted history in
the style of his father, to whom he showed himself
little inferior in his picture of St. Benedetto, in the
church of Santa Giustina at Padua. He assisted
Alessandro in many of his principal works at
Vicenza, where he died of the plague in 1617.
MAGATTA, II. See Simonetti, Dom.
MAGATTI, PiETBO Antonio, a painter of
Vaccalo, born in 1687, studied at Bologna under
Dal Sole, and painted several pictures for the
churches in Padua. He died at Varese in 1768.
MAGDALENEN-SMITZ. See Smitz.
MAGES, Joseph, was bom at Imst, in Tyrol, in
1728 ; he studied the art of painting at his native
place, and at Innsbruck, Vienna, Stuttgart, and
lastlj' at Augsburg, under G. Rotpletz. He was an
excellent painter of history, both in oil and fresco,
and was princij)ally employed at Stuttgart, Colmar,
and Strasburg. He died in 1769. His two chief
productions are at Augsburg, and consist of a
' St. Mary of Egypt,' in the Salvatorkirche, and a
'History of St. Augustin,' on the ceiling of the
church of the "Holy Cross.
MAGGI, Giovanni, was born at Home about
1566, and died about 1620. He painted landscapes
and architectural views, but is more known as an
engraver than as a painter. In 1618 he published
a set of plates of the principal fountains in Rome,
engraved in conjunction with Domenico Parasachi.
He had undertaken to engrave the plan of Rome,
on a very large scale, with all the principal
buildings ; but from the want of encouragement
he was not able to carry his object into execution.
We have by him the following prints :
A Landscape with Buins and a Waterfall, with figures ;
J. Mains in. et fee. 1595.
Figura della Vita humana ; Joh. Mains fee. 1600.
Tlje Portrait of a Cardinal ; life-size.
MAGIMEL, Albeet, a French painter, was bom
in Paris in 1799. He was a pupil of RegnauH
and Hersent, and afterwards of Ingres. He
executed some paintings in a chapel in St.
Eustache, Paris. He died in 1877.
MAGIOLLI. See Maglioli.
MAGIOTTO, Domenico, (or Majotto,) a painter,
was bom at Venice in 1713. He was a pupil
of Piazetta, in whose style he executed several
pictures for churches and private houses. He died
in 1794.
MAGIOTTO, Feanoesco, (or Majotto,) son of
Domenico, was born in 1750. He was instructed
by his father, and painted historical and still-life
pictures. He died at Venice in 1805.
MAGISTRIS, Simonb de, was a native of
Caldarola, in the Papal States, and flourished
towards the close of the 16th century. He dis-
tinguished himself as a painter and sculptor. He
has left a picture in the principal church of Orsino,
representing ' St. Philip and St. James,' painted in
1585 ; and at a more advanced period of his hfe
produced some works at Ascoli, particularly a
' Madonna del Rosario,' in San Domenico.
MAGLIAR, Andbea, an Italian engraver, was
born at Naples about the year 1692. He engraved
some plates after Francesco Solimena.
MAGLIAR, Giuseppe, was the son of Andrea
Magliar, by whom he was instructed in engraving.
He gave unusual promise of ability, but died very
young. He engraved a plate representing ' Christ
appearing to St. V^'illiam,' after Solimena.
MAGLIOLI, Giovanni Andrea, (Magiolli,
Majolds, or Maliolus,) worked at Rome from 1580
to 1610, and engraved a series of excellent plates
in which marine gods and monsters were introduced.
MAGNANI, Ceistoforo, was bom at Pizzighet-
tone, a castle in the vicinity of Cremona, and was a
scholar of Bernardino Campi. He flourished about
the year 1580, and painted history and portraits.
He is said to have possessed so retentive a memory,
that he could draw a most correct likeness of any
person he had once seen. He painted some con-
siderable works in fresco, in conjunction with
Cavaliere Malosso and Mainardi, and at Placentia
there is a ' St. James and St. John ' by him.
MAGNASCO, Alessandeo, called II Lissan-
DEINO, was born at Genoa in 1681, and was the son
of Steffino Magnasoo. He studied at Milan under
Filippo Abbiati, whose style he imitated, though
he painted on a smaller scale and different subjects.
These were public processions, military exercises,
and bambocciate. He is styled by Lanzi the
' Michelagnolo delle Battaglie ' of the Genoee
school. There are several of his pictures in the
Pitti Palace at Florence, where he resided some
time, being patronized by the Grand Duke Giovanni
Gastone. He died in 1747.
MAGNASCO, Stefano, was born at Genoa about
1635. He was a pupil of Valeric Castello. He
spent five years at Home, after' which he returned
Kagrnus
PAINTERS AND ENGRAVERS.
mair
to his own country, and wns employed in the
painting of altar-pieces. His death is stated by
biographers to have occurred in 1665, but it must
have taken place much later in the century.
MAGNUS, Eduabd, portrait and genre painter,
was born at Berlin in 1799. After spending some
time in the study of medicine, architecture, and
philosophy, he at last devoted himself to painting,
and entered the studio of Sohlesinger. He ex-
hibited for tha first time in 1826, after which he
travelled in France, Italy, Spain, and England. In
1837 he became a member, and in 1844 a professor,
of the Berlin Academy. He obtained much re-
cognition from the State, and died at Berlin in
1872. Among his best pictures we may mention :
A portrait of Jenny Lind.
A portrait group of the Eoyal Family of Prussia.
A portrait of Mendelssohn.
And two genre pictures in the Berlin National Gallery.
MAGNUS, Otto. See Stackelbebg.
MAGRI (or Del Magro). See Gihaldi.
MAGUIRE, Adelaide A., an English subject
painter, born in 1852. Her works, which were
chiefly scenes of childhood, were exhibited at the
Society of Lady Artists (of which she was a
member) and at the Royal Academy. She died,
unmarried, in 1876.
MAHMUD. See Yahia ben Mahjsiud.
MAHSELKIRCHER, Gabeiel, of Munich, who
flourished about the year 1470, is the author of
two early pictures in the Schleissheim Gallery.
They represent ' Christ bearing the Cross,' and the
' Crucifixion.'
MAHUE, Guilladme, was born at Brussels in
1517, and died at the same city in 1569. He was
a portrait painter of great repute in his time ; but
his pictures are rare, and we have no particulars
of his life.
MAILLE-SAINT-PRIX, Louis- Antoine, was
born in Paris in 1796, and instructed by Bidault,
Hersent, and Picot. He was an excellent painter
of landscapes, and several wall-paintings by him
are in the church of Etiolles. Among his best
works may be mentioned :
A View of the Pont de Breuil.
The Euins of St. Jean de I'lle.
The Valley of Oorbeil.
The Interior of a House at Damascus.
A Cataract on the Nile.
MAILLET, Bertband, a French historical
painter, a native of Lorraine. In 1457 he was at
work in the Ducal Palace at Nancy. He died in
1481.
MAILLET, Joseph, engraver, was a native of
France, and worked in Paris in the last quarter of
the 18th century. He engraved several plates
which showed great promise, but died young, in
1788.
MAINARDI, Andrea, called II Chiaveghino,
was a native of Cremona, and flourished from 1590
till 1613. He was brought np in the school of
Bernardino Campi, and was one of his ablest
disciples. In conjunction with his nephew, Marc
Antonio Mainardi, he executed several consider-
able works at Cremona. One of his best pictures
is the ' Marriage of St. Anna,' in the church of the
Eremitani.
MAINARDI, Lattanzio, called ' Lattanzio of
Bologna,' an Italian painter, born at Bologna, who
flourished in the latter part of the 16th century. He
wa« a pupil of the Carracci, but afterwards went
to Rome, where he was employed by Pope Sixtus V.
in the decoration of several churches. He lived
too fast, and died at Viterho at the age of twenty-
seven.
MAINARDI, Sebastiano di Baetolo, was born
at San Gimignano in the 15th century, and, accord-
ing to Pecori, died about 1515. He was the pupil,
favourite assistant, and brother-in-law of Domenico
Ghirlandaio. He painted the fresco of ' St. Thomas
receiving the Girdle of the Virgin,' in the Baroncelli
Chapel at Santa Croce, Florence ; and a life-sized
fresco, ' Virgin and Child in glory,' in a taber-
nacle in the Via San Giovanni, at Gimignano.
Other works by Mainardi are :
Berlin. A Madonna.
„ Portrait of a Young Man.
Paris. Louvre, Virgin and Child. (Pictures
nearly or quite identical at
Florence, Naples, and Saa
Gimignano.)
Rome. Mus4e Cristiano. A Nativity.
San Gimignano. Col- ) Glorified Virgin adored by six
leyiale. j Saints.
„ jS. Agostino. The Four Doctors of the Church.
1500.
„ „ Sta. Lucia between SS. Gimig-
nano and Nicholas of Pari.
„ Pal. Comun. Two Madonnas.
MAINERO, Giovanni Battista, was born at
Genoa about the year 1610, and was a disciple of
Luciano Borzone. At an early age he distinguished
himself by the production of some good historical
pictures of a small size ; but in after years lie
was chiefly employed in portraiture. He died of
the pliigue in 1657.
MAIR, Alexander, (or Matr,) a German en-
graver on wood and on copper, was born at
Augsburg, probably about 1659. He was living
up to 1620. We have by this artist some book-
plates and frontispieces, executed with the graver
in a masterly style. He engraved the frontispiece
to Velser's 'Dissertation on the Antiquities of
Augsburg,' published in 1696," and that of the
' Uranometria,' by John Bayer, dated 1603. He
usually marked his plates with his name or
initials, or with a monogram. Among them there
are :
copper-plates.
Johann Welser of Augsburg.
St. Sebastian.
A frontispiece, with arms leaning against two columns ;
excellent and very rare.
WOODCUTS ascribed TO HIM.
A plan of Augsburg. , , , ,,
A print with the portraits of the Emperor Eudolph II.,
King Philip II. of Spain, Archduke Ferdinand, and
Archduke Charles of Austria.
MAIR, JOH. Ule. See Mayr.
MAIR, La. See La Mair.
MAIR, NicoLAUS Alexander, an old_ Ger]nan
painter and engraver, who was working from
1492 to 1614, was a native of Landshut, probably
the town so named in Lower Bavaria. From the
likeness in his style of engraving to that of Martm
Schongauer it has been conjectured (hat he was
taught by the latter, but others believe Wohlgemuth
to have been his master. He is said to nave been
the inventor of the process of engravmg known
as chiaroscuro. Among others we have the fol-
lowing prints by him, signed with his name or a
monogram :
David and Goliath.
The Nativity.
Christ Bearing the Cross.
yo
Maison-Neuve
A BIOGEAPHICAL DICTIONARY OP
Maleuvre
The Virgin and Child.
St. Anne.
The Wise Men's Offering.
Samson carrying off the Gates of Gaza.
Samson and DeHlah.
The Martyrdom of St. Sehastian.
A Man talking to a Woman, with a Dog snarling at a
Monkey.
Death and the three loving couples.
The Story of Three Brothers.
The Balcony.
Holy Family : in chiaroscuro.
MAISON-NEUVE, a modern French engraver,
mentioned by Basan. He engraved the French
Parnassus, from a bronze, and several portraits,
among which is that of Jacques Theodore Klein.
MAITBE EOUX. See De' Rossi, Rosso.
MAJA, Giovanni Stefano, an Italian historical
and portrait painter. He was born at Genoa in
1672, and was a pupil of Solimena. He died in
1747.
MAJO, Juan de. See Veemeijen.
MAJOLI, Clements, (or Majola,) was born at
Ferrara about the year 1625, and studied at Rome
under Pietro da Cortona. He was a reputable
painter of history, and some of his pictures in the
churches of Rome and Ferrara, especially the
latter, are meritorious productions. In the church
of San Paolo, at Ferrara, is a picture of ' St. Maria
Maddalena de' Pazzi'; and in San Giuseppe, 'St.
Niccolb da Tolentino, supported by an Angel.'
MAJOLUS. See Maglioli.
MAJOR, Isaac, a German painter and engraver,
was born at Frankfort about the year 1576. Early
in his life he went to Prague, where he became a
scholar of Rolandt Savery, at that time painter to
Rodolph II. He was also instructed by Giles
Sadeler, in whose style he engraved several plates.
Major died in poverty at Vienna in 1630. We
have by this artist the following :
A set of six Landscapes, Views in Bohemia; after
P. Stephani.
A set of nine romantic Views, signed : Isaac Major fee.
A very large Landscape, with the figure of St, Jerome ;
aftej^ Rolandt Savery. Isaac Majm' scul. I^iemus.
1622.
The Emperor Eudolph 11. in a Triumphal Car, with
Swans and Eagles ; inscribed Ite Trium^hales feltces,
&c.
St. Jerome in a Cave ; after Savery.
Portrait of Admiral van Tromp ; after Faas.
MAJOR, Thomas, an eminent English engraver,
was born in 1720. He resided some years of the
early part of his life in Paris, where he was
thrown into prison by the Government in reprisals
for the imprisonment of French soldiers taken at
Culloden. He there engraved several plates after
Berehem, Wouwerman, &c. On his return to
England he distinguished himself by a variety of
plates from portraits, landscapes, and other sub-
jects, executed in a neat, firm style. He was for
forty years seal engraver to the king, and in
1770 received from the Royal Academy the honour
of being elected first associate engraver. In 1768
he published a set of twenty-four prints, entitled
' The Ruins of Poestum, otherwise Posidonia, in
Magna Grascia,' after the designs of J. B. Borra.
He died in Covent Garden in 1799. On some of
his prints after Berehem and Arnold Mass he has
put an anagram of his name, Jorma, or Jor sculp.
The following are his principal plates :
PORTRAITS.
John Carteret, Earl Granville. 1757.
Cardinal Pole.
96
VARIOUS SUBJECTS.
The Departure of Jacob ; aft. r F. Lauri.
The Good Shepherd ; after Mhrillo.
Two Landscapes ; after Gaspar Poussin.
A Landscape, with a Man driving Sheep ; after Rubens.
Two Flemish Festivals ; after Tenien.
The Manege ; after Wouwerman.
The Travellers ; after N. Berehem.
Two Landscapes : Morning and Evening ; after the same.
The Four Seasons ; after Ferg.
A View near Haarlem ; after Van der'Neer.
A Sea-port ; after Claude.
A View of Ponte Mole, near Rome ; after the same.
MA L AGON. See Villafranca.
MALAINE, Renieb, a Flemish painter of some
merit, who flourished about the middle of the last
century. The town of Toumai possesses some of
bis pictures.
MALAINE, Joseph Laurent, son of Eenier,
born at Tournai in 1745. In 1787 he was ap-
pointed flower painter to the Gobelins. In 1793
he retired to Alsace, but returned to Paris in 1796,
where be resumed his favourite study. He died
in Paris in 1809.
MALBODIUS. See Gossabrt.
MALBONE, Edward G., a portrait painter, was
born at Newport, in America, in 1777. He early
displayed a talent for art, and while still a boy
painted a scene for a theatre. At seventeen he
established himself in Providence as a portrait
painter. In 1796 he went to Boston, and afterwards
to New York, Philadelphia, and Charleston. In
1801 he came to England, and was urged by West
to remain, but returned to Charleston in the same
year. There he painted miniatures, but his health
giving way, he abandoned bis profession and went
to Savannah, where he died in 1807.
MALCOLM, James Peller, an English topo-
graphical draughtsman and engraver, born at Phila-
delphia in 1767. He came to England about 1788,
and studied in the schools of the Academy. He
also received instruction from Benjamin West and
Wright of Derby. Not succeeding with the brush,
he turned to engraving. He worked for the
' Gentleman's Magazine,' and had much employ-
ment on topographical subjects. He died in
London in 1815. Specimens of his work are to be
found in Nichols' ' History of Leicestershire ' ;
' Excursions through Kent ' ; ' History of Carica-
turing' (1808); 'Anecdotes of the Manners and
Customs of London in the 18th century ' (1808-11) ;
Granger's ' Biographical History of England.'
MALDEGHEM, Jean Baptiste, a Flemish
landscape and animal painter, born in 1803. He
studied in the Bruges Academy, and died at
Brussels in 1841.
MALDEGHEM, Romain Eug^ine van, was born
at Denterghem, in Flanders, in 1813. He attended
the Academy at Bruges in 1825, and afterwards
that of Antwerp. From 1838 to 1842 he travelled
in Italy and the East. On his return he settled at
Brussels, but in 1852 became Director of the
Academy at Bruges. After a life of much success,
he died at Brussels in 1867. Perhaps his most
important picture is ' Charles V. in his cell.'
MALEUVKE, Pierre, a French engraver, was
born in Paris in 1740. He was a pupil of Beau-
varlet, and visited London, where he was for some
time under Sir Robert Strange. On his return to
Palis he engraved some portraits and other
subjects. The following are his most important
plates :
Kali
PAINTERS AND ENGRAVERS.
Slalton
PORTRAITS.
Oustavus Adolpbus, King of Sweden.
Count d'Aianda.
M. d'Alembert.
M. de Lalande.
SUBJECTS.
The Satyr and the Peasant ; after Dietrich.
The Spoiled Child ; after Greuze,
• A Sea-storm ; after Bakhuisen.
Boors regaling ; after Brouwer.
The Bath of Diana ; after Marillier.
MALI, HuBERTUS, born at Mauren, Wiirtem-
berg, in 1818. He was an elder brother of Christian
Friedrich Mali (a living artist), and studied paint-
ing under P. F. Peters the elder, at Nymwegen ;
subsequently he worked at Hoheneck, near Lud-
wigsburg. His landscapes are poetic in conception
and crisply painted. He was drowned while
bathing near Altenaer, in 1839. His works are
mostly at Mannheim and Stuttgart.
MALI, JoHANN, a landscape painter, and second
brother of Christian Friedrich Mali, was born at
Broekhuizen in 1828, and instructed by P. P.
Peters the younger, at Stuttgart. He afterwards
studied at Munich. His works are mountain
landscapes, of a generally sombre character. He
died at Munich in 1865.
MALINCONICO, Andrea, was bom at Naples
about the year 1600, and was one of the ablest
scholars of Cavaliere Massimo Stanzioni. Of his
works in fresco little is known, but the churches
at Naples possess several of his oil paintings ; of
these the most esteemed are the ' Four Evangelists '
and the 'Doctors of the Church.' Andrea's son,
Nicola, was a good painter of flowers and fruit.
MALLEIN, G., (or Mallbyn,) was born at
Dordrecht in 1753. He settled at Rotterdam, and
was chiefly employed as a decorator. He died
in 1816.
MALLERY, Karel van, a Flemish designer and
engraver, was born at Antwerp in 1576. Judging
from his style, it is probable that he formed his
manner from the prints of the Wierixes, or that
he was instructed by them. His work with the
graver is very highly finished, though his drawing
is not always correct. He must have been ex-
tremely laborious, as his prints are very numerous.
The Abb6 de Marolles possessed three hundred and
forty -two prints by him. The following are his
principal prints :
The Infant Jesus, with two Angels, in a landscape ;
C. de Mallery fee.
The Adoration of the Magi.
The Holy Family, with Mary Magdalene.
St. Francis.
Several heads of Christ, the Virgin, Saints, the Apostles,
and other devotional subjects ; from his own desiyns^
and after Anthony Salaert, and other masters.
The History of the Silkworm ; in six plates ; after
Stradan.
A set of plates of Horses, for a book entitled ' La
Oavalerie Fran^oise.' 1602.
Four plates of the Miller, his Son, and the Ass ; after
Ambrose Franck ; scarce.
MALLERY, Philip van, was born at Antwerp
about 1600. He was an engraver, and worked in
the stylo of the Wierixes. If not a son of Karel
van Mallery, he was at least his pupil. He worked
chiefly at Prague, and there engraved the portrait
of Archbishop Johann Gohelius. Several small
historical subjects, published about 1650, are also
by him. The engravings of his work, 'Typus
Mundi' (Antwerpije, 1627), are signed with his
name or monogram.
VOL. II. H
MALLET, Jean Baptists, a French historical
and still-life painter, was born at Grasse in 1759.
He was a pupil of Simon Julien at Toulon, and
afterwards of Prud'hon and M^rim^e. Among his
pictures are the 'Education of Henri IV.,' and
' Nature and Honour.'
MALLEYN. See Mallein.
MALLIUS, Lucius, one of the best painters of
the Roman Empire, who flourished in the time of
Macrobius, A.D. 396.
MALO, Vincent, (or Vincenzio,) was born at
Cambray about the year 1625. He was at first a
pupil of Rubens. After the death of that master
he became a scholar of David Teniers the elder,
who had been brought up in the same academy.
He afterwards went to Italy, where he passed the
remainder of his life, and distinguished himself
as a painter of battles and landscapes ; he also
executed some altar-pieces for the churches at
Genoa. He died at Rome before the year 1656.
MALOGAVAZZO, Coriolano, born at Cremona
about the year 1555, was a disciple of Bernardino
Campi, whom he assisted in some of his great
works in the church of San Gismondo. He is
better known as the coadjutor of that artist thnii
by any original productions of his own. His
principal work is his picture in the church of San
Silvestro, at Cremona, representing the ' Virgin
and Child, with St. Francis and St. Ignatius,'
which, according to Lanzi, is supposed to have
been designed by Bernardino.
MALOMBRA, Pietro, was born at Venice in
1656, and studied the works of Salviati and Palma.
He has left four excellent pictures of the miracles
wrought by St. Francis de Paula, in the church
dedicated to that saint at Venice. He is still
better in his historical subjects of an easel size,
and painted with great success architectural view.s
of the principal places in Venice, enriched with
groups of immerous figures. He was also a dis-
tinguished portrait painter. He died at Venice in
1618.
MALOSSO, II. See Trotti.
MALPE Jean, painter, was born at Ghent in
1764. He studied in the Academy of his native
town, and then spent some time in Paris. He
afterwards returned to Ghent, and devoted himself
to portrait painting in miniature. He died in
1818.
MALPIEDI, DoMENioo, an Italian painter, and
pupil of Barocci, was born at 8. Ginesio. He
flourished from 1590 to 1606, and executed several
pictures for the churches in the neighbourhood of
his birthplace. One of these, the ' Martyrdom of
St. Ginesio and St. Eleuthera,' shows that he kept
pretty close to tlje style of his master.
MALPIEDI, Francesco, a brother of Domenico
M., and also a pupil of Barocci.
MALTESE, Francesco, called after his birth-
place, Malta, was a painter of still-life, who especi
ally excelled in his rendering of carpets and musical
instruments. Two of his pictures are in the
Gallery at Munich, and some are to be met with
in England. He lived about 1670, or later, but no
particulars of his life have been recorded.
MALTON, James, an English topographical
draughtsman in the second half of the 18lh century.
He died in Maiylebone in 1803. The South Ken-
sington Museum has a drawing by him of ' Cupel
Street, Dublin.' He published ' Picturesque Views
of the City of Dublin' (1791-6); 'Essay on
British Cottage Architecture' (1798); 'The
97
Malton
A BIOGRAPHICAL DICTIONARY OP
Mander
Young Painter's Maulstick' (1800); 'Designs for
Rural Retreats ' (1801).
MALTON, Thomas, topographical draughtsman,
was born in 1726. At one time he kept an uphol-
sterer's shop in the Strand. In 1749 he was in
Dublin, driven there, it is said, by money diffi-
culties into which he had drifted in London. He
resided there many years, making a scanty living
as a teacher of perspective. He was an early
exhibitor at the Royal Academy, and in 1776 we
find him back in London, where he advertises a
course of lectures on perspective. He died at
Dublin, 18th February, 1801. His drawings are
what were known as ' tinted drawings,' begun in
Indian ink. So far as they can be tested they are
very accurate. The South Kensington Museum
possesses four of them.
MALTON, Thomas, architectural draughtsman,
was a son of the above. He was born in 1748.
In 1774 he received a premium from the Society
of Arts, and in 1782 the gold medal of the Royal
Academy for a design for a theatre. He entered
the office of Gandon, where he remained for three
years, being then dismissed for irregularity. He
exhibited at the Royal Academy from 1774 to 1802.
He also produced some engravings in aqua-tint
from the chief buildings of London. He died in
Long Acre, 7th March, 1804.
MALTON, William, another son of Thomas
Malton, senior, did some work as an architectural
draughtsman.
MALWEL, Jean, (Malouel, or Maluel,) who
was born in the latter half of the 14th century, is
recorded as ' painter and valet-de-chambre ' to
Philip the Hardy and to Jean Sans Peur, Dukes
of Burgundy, from 1397 to 1415. He worked
for the now destroyed Chartreuse of Dijon, and in
1415 he painted a portrait of Jean Sans Peur,
which was carried by special messenger to John
II. of Portugual. It is believed that none of his
works have survived.
MAN, Corn, de (or Maan). See De Man.
MANAIGO, SiLVESTEO, was born at Venice about
the year 1670, and was a scholar of Gregorio
Lazzarini. His compositions evince both taste and
ability ; but he worked for money only, and became
negligent and a mannerist. His most creditable
picture is ' Christ driving the Money-changers from
the Temple,' in the church of San Felice, at
Venice.
MANASAR, Daniel, a German engraver, who
resided at Augsburg early in the 17th centurj'.
He chiefly engraved architectural plates, which are
carried out entirely with the burin, in a neat but
stiff style. Conjointly with Wolfgang Kilian, he
engraved the plates for a work entitled ' Basilicse
SS. Udalrici et afrse Augustee Vindelicorum His-
toriae,' published at Augsburg in 1626. His prints
are usually marked D. M. F.
MANBY, Thomas, an English landscape painter,
who practised in the second half of the 17th
century. He spent much time in Italy, whence he
brought back a collection of pictures. He died in
London about 1691.
MANCHE, Bdouakd, a Flemish genre and his-
torical painter, born at Brussels in 1819. He died
in Paris in 1861. One of his chief works is a
' Descent from the Cross.'
MANCHELLI, Miohelb, was born at Genoa in
1560, according to Domenici. He studied at
Naples, under Marco di Pino, and acquired some
reputation as an historical painter. One of his
98
best works is a picture in the church of Sant'
Agnello at Naples, representing the 'Virgin and
Infant, with St. John, Mary Magdalene, and St.
Lucia ' ; it was painted in 1586.
MANCHINO DAI PAESI, II. See Dal Sole,
Ant'.
MANCINI, Bartolommeo, a follower of Carlo
Dolce, of whom little is known.
MANCINI, DOMENICO, a Venetian artist living
in the early part of the 16th century, of whose life
or death no details are known. He is the author
of the centre panel in an altar-piece now in the
sacristy of the cathedral of Lendinara, representing
a ' Virgin and Child enthroned, with an Angel play-
ing a viol.' It is signed and dated 1511.
MANCINI, Francesco, (or MAciNi,)was born at
St. Angiolo in Vado in 1706, and was a pupil
of Carlo Cignani. He went to Rome, and there
painted the ' Miracle of St. Peter,' his chief per-
formance ; it is now in the Palazzo di Monte
Cavallo, and a mosaic fills its place in St. Peter's.
Mancini became a member of the Academy of St.
Luke, and died in 1768.
MANCIOL. See Leckekbetjen.
MANDEL, JoHANN August Bduaed, engraver,
was bom in 1810, at Berlin. He was a pupil of
Buckhorn, and worked in pure line. In 1837 he
became fellow of the Berlin Academy, and in 1842,
after a visit to Paris, was appointed Professor of
Engraving. He was a frequent exhibitor at the
Salon, where he obtained all the regulation honours.
His last important work was a plate from the
' Madonna di San Sisto,' published after his death,
which took place in 1882. Among his best works
we may name :
Charles I. ; after Vandyck.
Titian's portrait of himself.
Christ weeping over .Terusalem ; after Scheffer.
Ecce Homo ; after Guido.
Bindo Altoviti ; after Raphael.
Madonna della Seggiola ; after the same.
Frederick the Great ; after Stock.
Frederick William IT. ; after Otto.
MANDER, Karel van, the elder, a well-known
painter and writer on art, was bern at Meulebeke,
in Flanders, in 1548. He was of a noble family, and
received an education suited to his rank. At an early
age he discovered a lively genius for poetry and the
belles-lettres, and a decided disposition for painting.
To cultivate the latter, on finishing his literary
pursuits, he was placed under the tuition of Lucas
de Heere, a painter aftd poet of Ghent, with whom
he studied some time, and about 1569 became a
disciple of Pieter Vlerick, an historical painter of
some eminence at Courtrai. He had acquired
considerable reputation by some pictures he had
painted for the churches in Flanders, when he
determined in 1573 to visit Italy, and passed three
years in Rome, where he was assiduously em-
ployed in drawing from the remains of antiquity.
He formed an intimate acquaintance with Bar-
tholomew Spranger, and in conjunction with that
artist, was employed for some of the public
places and private collections at Rome, fie ac-
companied his friend Spranger to Vienna, where
he met with flattering encouragement, and
received an invitation to enter the service of
the Emperor; but his attachment to his native
country prevented him from accepting this mark
of distinction. About 1578 he returned to Flan-
ders, whence after many vicissitudes he made
his way northwards to Haarlem, and finally to
Slander
PAINTERS AND ENGRAVERS.
Amsterdam, where he ended his days. At Haariem
Van Mander form.ed an intimacy with Cornelis
Cornelisz and Hendrik Goltzius, and in con-
junction with the latter he established an academy,
which had numerous scholars. But our chief debt
to Van Mander is for his account of the Italian
and Flemish schools from 1366 to 1604. In his
hours of leisure he also wrote verses. He trans-
lated the ' Iliad ' of Homer ; the ' Georgics ' and
the ' Bucolics ' of Virgil ; and the ' Metamorphoses '
of Ovid. He finished his ' Lives of the Painters '
at Zevenbergen, between Haarlem and Alkrnaar,
where he remained for a year. Van Mander's
final migration to Amsterdam took place in 1604.
There he fell sick ; and although he endeavoured
to vanquish his pain by his courage, he was
obliged tosend for a doctor. Prom that moment
his situation became perilous ; for he found " it
was two against one," says Michiels. The man
of skill expedited the business by a debilitating
regimen, and the patient died of weakness (1606).
He was crowned with laurel in his cofiSn ; three
hundred friends and amateurs followed his body
to the grave ; a multitude of panegyrists feelingly
deplored his loss ; and his celebrity still lives in
his book. His pictures, which are rare, are poor
enough.
MANDER, Kaeel van, the younger, a painter,
was a son of Karel van Mander the elder, and
was born a! Courtrai about 1579. He was a
scholar in his father's studio at Haarlem, where
he painted portraits and historical subjects. He
was afterwards attached to the tapestry works of
Spiering at Delft, from whence he was sent for
in 1606 to execute some hangings for Christian
IV., King of Denmark. He died in Holland in
1623.
MANDER, Karel van, was the son of Karel
van Mander the younger. On his father's death
he went with his mother to Copenhagen, where he
was well received by the king. He studied, it is
believed, in Italy, and was afterwards appointed
painter to the Danish court. In 1635 he visited
Amsterdam, and there painted the portrait of the
poet Vondel. Of his paintings there are at Copen-
hagen, 'The Tartar Ambassador at Copenhngen
in 1665,' ' The Remorse of St. Peter,' portraits of
Admiral Giedde, and others. Van Mander died
at Delft in 1672.
MANDIJN, Jan, (Mandin, Madijn, or Madin,)
was born at Haarlem in 1500. He painted con-
flagrations, wild and rocky landscapes, and dia-
hleries, in the style of Jerom Bos. His chief
residence was at Antwerp, and there he died in
1560.
MANENTI, ViNCENZio, was born at Canimorto,
in the province of Sabina, in 1600. He was the
son of Ascanio Manenti, an obscure artist, by
whom he was instructed in the first principles of
design. He afterwards studied at Rome, under
Giuseppe Cesari and Domenichino. There are
several of his pictures in the churches of his
province ; and Lanzi speaks favourably of his ' St.
Stefano,' in the cathedral at Tivoli, and of his ' St.
Saverio,' in the Jesuit's church. He died in
1674.
Maafredi
son of Anton Manes, and painted battle scenes.
He died in 1880.
MANES, Joseph, was born at Prague in 1821
He was a son of Anton Manes, and received his
first mstruction from his father. He painted por-
traits and historical scenes, and died in 1871
MANES, Wenzel, brother of Anton Manes, was
born at Prague in 1796. He studied at the
Academy, and devoted himself to landscape and
portra.it painting, though we find some altar-pieces
from his hand. He died in 1868.
,3J^^¥^' ^^°^'^""' painter, was born in Paris in
laa2. His first master was Thomas Couture, in
whose studio he spent some six years. After
leaving Couture he travelled in America, England
the Netherlands, Germany, Italy, and Spain, and
after his return to Paris retained for a time a
manner he had caught from Velazquez. In 1860
he exhibited his 'Buveur d'Absinthe,' in which
the influence of Couture is strong, and shortly
afterwards his ' Enfant a I'Bp^e,' which is very hke
a Velazquez. Towards, 1863 Manet became the
chief of the famous ' Ecole des Batignolles,' to
whom Degas, Claude Monet, Guillemet, Fantin-
Latour, Cisley, Pisarro, and others belonged.
Ihenceforward his art became and was known
as 'inapressionism.' In 1863 he exhibited, at the
first Salon des liefusees, his ' D(5jeuner surl'Herbe,'
and in 1864, at the official show, his ' Olympia,'
which raised a storm and failed to win acceptance
even from many who were prepared to go a long
way with him. From that time onward the Salon
was more often barred against him than not until
the last few years of his life, when his pictures
were well hung. Manet was decorated with the
Legion of Honour during the administration of
M. Antonin Proust, who had been his friend for a
quarter of a century. He exhibited at the Sulon
for the last time in 1883, and died the same year.
Among his best pictures we may name :
L' Enfant a I'Ep^e.
CbrLst mocked by the Soldiers.
Le Dejeuner sur I'herbe.
Olympia.
Le Bon Bock.
Dans la Serre.
La Toilette.
Portrait of M. Antonin Proust.
Portrait of Eochefort.
Portrait of Zola.
MANES, Anton, was born at Prague in 1784.
He was a pupil of Karl Postels, and painted land-
scapes in the style of Ruysdael. In 1836 he was
appointed teacher at the Academy. He died in
1843.
MANES, GuiDO, bom at Prague in 1829, was a
H 2
W.A.
MANETTI, DoMENico, was born at Siena in
1609, and was probably a relation of Rutilio
Manetti. He painted chiefly for the churches of
Siena, but also produced historical subjects of an
easel size. Lanzi particularly mentions one in
the Casa Magnoni, representing the ' Baptism of
Constantine.' He died in 1663.
MANETTI, Rutilio, was born at Siena in 1571,
and was a scholar of Francesco Vanni. He was
not faithful, however, to the style of that master,
but sought to imitate the vigour of Caravaggio.
His pictures at Siena are remarkable for the loaded
shadows characteristic of the tenebrosi. He was
well versed in architecture. There are several of
his pictures at the Certosa in Florence, and in the
churches at Pisa ; a ' Repose of the Holy Family,'
in S. Pietro di Castelvecchio, at Siena, is particu-
larly admirable. He died in 1639. He signed his
works 2i. M. J. ; and Rut. Man. Pin. His portrait
in the Gallery at Florence is engraved by Payzi.
MANFREDI, Baetolommeo, was born at Ustiano,
near Mantua, about 1572. Although Manfredi
99
Mangini
A BIOGRAPHICAL DICTIONARY OF
Mannl
was a scholar of Nicool6 Circignano, he might
be styled another Michel-Agnolo da Caravaggio,
if his works were not distinguished by a better
choice of forma and a more dignified taste in
design. He painted few pictures for the churches ;
his favourite, subjects were banditti, assemblies of
gamesters, and armed soldiers, which harepresented
with an appropriate ferocity of character, and an
extraordinary effect of light and shadow. The
works of Manfredi are rarely to be met with, as he
died young in 1605, and of the few pictures he
painted some are attributed to Caravaggio, others
to Valentin. One representing ' Christ driving the
Traders from the Temple ' was engraved by J. B.
Haussard. Among those known are also the
following :
Augsburg. Gallery. A Company drinking and
playing.
Brunswick. Gallery. The Denial of Peter.
Brussels. The Woman taken in Adultery.
Copenhagen. Gallery. The Gipsy in the Watoh-room.
„ ,, A Girl playing the Tambourine.
Darmstadt. Gallery. Musicians. r
Florence. Pitti Palace. The Fortune-Teller.
„ „ The Good Fortune.
Madrid. Museum. A Soldier bearing the Head of
John the Baptist.
Munich. Gallery. Christ mocked by the Soldiers.
Kantes. Museum. Judith and Holofernes.
Paris. Louvre. Company drinking.
„ „ The Fortune-Teller.
Vienna. Gallery. Card-Players.
„ „ The Denial of St. Peter.
MANGINI, Prosper, a little-known painter of
the 17th century. He was a pupil of Agostino
Metelli, and painted similar subjects.
MANGLARD, Adeibn, a French painter and
engraver, was born at Lyons in 1695. At an
early period of his life he went to Rome, where
he met with considerable encouragement, and
painted several landscapes and sea-pieces for the
Villa Albani, and for the Colonna and Kospigliosi
Palaces. He became a member of the Academy
in Paris in 1736, and subsequently of that of St.
Luke, at Rome, where he died in 1760. Joseph
'Vernet was his scholar. Among his pictures are :
Paris. Louvre. A Shipwreck.
Kome. Pal. Buspoli. Several Paiutings.
Vienna. Belvedere. Agitated Sea at Sunrise.
He engraved forty-four plates, representing similar
subjects to those of his paintings. Tlie best is
' The Widow of Sarepta.'
MANGOKI, Adam db, (Manyocky,) was a Ger-
man portrait painter, born at Szokolya, in Hungary,
in 1674. He was a pupil of Scheitz, and lived at
Dresden, where many of his works still exist.
Among his best pictures we may name :
Portrait of Count Promuitz.
Portrait of Franijois Kakocsy.
Portrait of Augustus the Strong.
Portrait of Count Bielinsky.
MANINI, GaetAno, was born at Milan about
the year 1730. He painted history in the gaudy
and frivolous style of the modern Italian school,
and came to England a little before 1775, in which
year he was an exhibitor with the Chartered Society
of Artists. He died between the years 1780 and
1790.
MANINI, GiACOMO Antonio, (or Mannini.) a
painter and engraver of perspective and architec-
tural ornaments, was born at Bologna in 1646, and
died in the same city in 1732. He was a disciple
of Andr6 Monticelli and Domenico Santi. There
100
is a series of sixteen perspective views by him,
entitled ' Vedute deliziose ' ; they are etched with
great taste.
MANISFELS, FBANgois Joseph, an historical
painter, was born at Tournai in 1742. He was a
pupil of N. Brebar. He died in 1807.
MANNI, Giannicola di Paolo, was born at
Citta della Pieve in the latter half of the 16th
century, and died in 1544. He was a fellow-
pupil under Perugino of Raphael and Lo Spagna.
He died in 1544. There is an 'Annunciation' by
him in the National Gallery, and the Fitzwilliam
Museum at Cambridge has a ' Madonna ' ascribed
to him. Elsewhere the following are preserved :
Berlin.
Gubbio.
Paris.
Perugia.
Gallery. The Crucifixion.
S. Piitro. The Visitation.
Louvre. Baptism of our Lord.
„ Assumption of the Virgin.
„ Adoration of the Magi.
„ Holy Family.
Cambio. Altar-piece and several fres-
coes. 1515-19.
„ Pinacoteca. Paintings of Christ, the Virgin,
and Saints.
„ S. Martina. Virgin, with SS. John and
Laurence.
„ -S Tommaso. The Incredulity of St. Thomas.
MANNIN, James, or (Manning,) a flower
painter, born in France, who settled in Dublin,
where in 1746 he became a master in the Dublin
Society's School, and tauglit several good artists.
He died in 1779.
MANNIN, Mrs., was a miniature painter. She
exhibited at the Royal Academy from 1829 to
1832 as Miss Millington, and from 1833 to 1859
under her married name. Among her best works
are the portraits of Sir Henry Havelock, Sir
Felix and Lady Agar, and the cliildren of Sir
George Brooke-Pechell. She died at Brighton in
1864.
MANNINI, Jaoopo Antonio, painter and en-
graver, was born at Bologna in 1646. He and
Giambattista Draghi were intrusted by the Duke
of Parma with the decoration of a chapel at Colomo.
From 1706 to 1708 Mannini was at Modena, where
he painted the dome of the church of St. Barnabas.
He engraved several plates. He died in 1732.
MANNL, Jacob, (or M.\nnl,) a German engraver
in mezzotint, was boin at Vienna about the year
1695. In 1720 Christopher Lauch, the inspector
of the Imperial Gallery, which had been augmented
by the collection of the Archduke Leopold, under-
took to have the whole of the pictures engraved,
and Jacob Mannl was employed for that purpose.
The death of the archduke and of the artist pre-
vented the completion of the project, and only
thirty-one plates were finished. These prints are
now become extremely rare. They are as follows :
St. Francis praying ; ajter Bassano.
Christ bearing His Cross ; after the same.
St. Clara kneeling ; after the same.
Christ praying in the Garden ; after Michel- Atjnolo
Caravagcjio.
Tobit restoring Sight to his Father ; after the same.
Susannah and the Elders; after Ann. Cain'acci.
Mary Magdalene penitent, accompanied by an Angel ;
after Correygio.
The Virgin, with the Infant Christ, who is caressing
St. John ; after Van Dyck.
Samson delivered to the Philistines ; after the same.
The Martyrdom of St. Bartholomew; after Luca
Giordano.
A Philosopher meditating on a Skull ; afte)' the same,
A Geometrician ; after the same.
A Warrior giving his hand to a Man ; after Giorgione.
XCannlich.
PAINTERS AND ENGRAVERS.
Manson
Jupiter and Mercury, with Baucis and Philemon ; after
Carlo Loth.
Christ taken in the Garden ; a/tej- B. Manfredi.
The Dead Christ, supported by an Angel ; after Palma.
A Dying Magdalene ; after the younye)' Palma.
St. Margaret treading on the riragon ; after Raphael.
The Repentance of St. Peter ; after Spai/miletto.
Christ disputing with the Doctors ; after the same.
Susannah at the Bath ; after Tintoretto.
Venus, with Cupid holding a mirror ; after Titian.
Bcce Homo ; half-length ; after the same.
The Virgin, or Mater Dolorosa ; after the same.
The Virgin and Infant ; after the same.
Judith with the Head of Holof ernes ; after A, Varotari.
Judith ; after Carta Verteziano.
A Child holding a Dog ; after Paolo Veronese.
Judith leaving the Tent of Holofernes ; after the same.
Diana and her Nymphs ; after TFilletorts and Jan
Fyt.
Portrait of the Emperor Charles VI.
MANNLICH, JoHANN Christian von, (or Man-
LICH,) was born at Strasburg in 1740 or 1742. He
was instructed by his father, Konrad Mannlich,
and afterwards went to Mannheim and became a
scholar of Zinzenich and VerscliafEelt. Duke
Christian IV., by whom he was patronized, intro-
duced him to Carle van Loo and Francois Boucher
in Paris in 1763, and enabled him to visit the
Academy at Rome in 1767. He went subsequently
to Naples, and stayed there until 1771. After his
return he became court-painter in 1772, as well as
Director of the School of Art at Zweibriichen. He
was a member of the Academies of Diisseldorf,
Mannheim, Paris, and Parma. He died early in
1823.
MANNLICH, KoNEAD, was born at Augsburg in
1701. He studied under Johann Kupeczki, at
Vienna, and subsequently visited Hungary. In
after years he was employed at Stuttg-art and at
Zweibriicken. He painted history, portraits, and
animals with considerable success. Several of his
works are in the Gallery at Sohleissheim. He died
at Zweibriicken in 1759.
MANNO, Francesco, an Italian painter and
architect, was born at Palermo in 1754. He began
life as a goldsmith, but afterwards devoted himself
to painting. In 1786 he settled at Rome, and
became the Secretary of the Academy of St. Luke.
He was employed by Pope Pius VI. Among
, his works may be named a portrait of King
Ferdinand I., in the Gallery at Palermo, and several
frescoes in the Quirinal. He died at Rome in 1831.
MANNOZZI (or Manozzi). See San Giovanni.
MANNSFELD. See Mansfeld.
MANRI6UB, Miguel. See Amb^ees.
MANS, Feedeeio H., was a Dutch painter of
the 17th century, who has left numerous pictures
of towns, villages, and coast scenes. He is sup-
posed to have lived at Utrecht. His winter-pieces
are in the manner of Klaas Molenaer. Examples
are to be found at Vienna, Florence, Rotterdam,
Dresden, and Gotha. They are generally of small
dimensions, and signed with his name, and some
are dated as late as 1677.
MANSFELD, Johann Eenst, (or Mannsfeld,)
a German engraver, was born at Prague in 1738.
When he was sixteen years of age he visited
Vienna, where he learned design in the Imperial
Academy, and was instructed in the art of en-
graving by Jakob' Schmutzer, the court painter.
He became a member of the Academy of Vienna,
where he died in 1796. His best plates are small
portraits of eminent Austrians, &c. The following
are the most important :
PORTRAITS.
The Empress Maria Theresa.
The Emperor Joseph II.
Pope Pius V. ; after Hagenawr. 1782.
■Wenceslaus, Prince Kauritz ; after Vinazer.
Francis Anthony, Count Kollowrat ; a/to' the same
Maurice, Count Lacy : after Kollonitz. 1776.
Frederick, Baron Trenck.
Joseph Haydn.
Anthony Stoerk. 1773.
Sir Robert Murray Keith ; after Graff.
Metastasio ; after Steiner.
SUBJECTS.
The Prodigal Son ; after Fiiger.
A "Waterfall on the Danube ; afte}' Wenzely,
The Coronation of the Emperor Leopold ; after iSchutz.
MANSFELD, Johann Georg, (or Mannsfeld,)
born at Vienna in 1772, was instructed by his
father, Johann Ernst Mansfeld, and in the Vien-
nese Academy. He won some distinction both
as a painter and engraver. His works are sigiied
J. G. M. sc. ; Md.fe., or with a monogram. He
died at Vienna in 1817. There are by him :
A series of heads of animals; after Quadal, Gondonio,
he.
The portrait of Prince Kaunitz.
Christ and the Woman of Samaria.
MANSKIRCH, Bernard Gottfried, was born
at Bonn in 1736 He distinguished himself as
a painter of landscapes ; but in the latter part of
his life he became loose and negligent in execution.
He settled at Cologne in the yeai 1790, and died
therein 1817.
MANSKIRCH, Franz Joseph, was born in 1770,
and was instructed by his father, Bernard Gottfried
Manskirch. He distinguished himself as a painter
of landscapes and as an engraver. About 1796 he
resided for a time in England, but was back in
Germany by about 1805. He was at Bonn in 1823,
and afterwards at Frankfort, Berlin, and Dantzic,
where he died in 1827. He was commissioned by
the Empress Josephine to paint a series of scenes
on the Rhine. He etched one landscape.
MANSON, George, was born at Edinburgh in
1850. After he left school he worked for a fev^
months with a punch-cutter, making the dies for
tj'pe, and after that for five years at wood- engrav-
ing, producing water-colour pictures in his leisure
hours. His style of engraving was direct and
artistic, resembling much that of the Bewicks.
When he was twenty-one he set up as a professional
painter, though greatly hampered b.y failing health.
In 1871 he visited London, and in 1873 the con-
tinent for the first time. On his return to Edin-
burgh symptoms of lung disease manifested them-
selves, and early in 1874 he was ordered to the
South, to the Channel Islands. He went to Sark,
and a year later paid a second visit to Paris, where
he began to etch. On his return to England he
settled for a time at Shirley, near Croydon ; but
his health was finally broken, and removing to
Lympstone in Devonshire, he died there early in
1876. His pictures are distinguished by fine colour,
great delicacy of handling, and a tenderness of
sentiment scarcely surpassed by any other painter
of his school. Among the best are :
Milking Time.
The Cottage Door.
What is it?
Waiting for the Boats.
Companions.
Girl with a Donkey.
The Gipsy Camp.
The Haunted AVell.
101
Iklansiieti
A BIOGRAPHICAL DICTIONARY OF
Kantegna
MAjSTSUETI, Giovanni, was a Venetian painter
living in the latter part of the 15th and beginning
of the 16th century, and a contemporary and
friend of Lazzaro Bastiani. The registers of San
Giovanni, Venice, tell us that he was lame ; and
by his own authority we learn that he was a pupil
of Giovanni Bellini, and a believer in a miracle of
the Cross, which took place in 1474, and forms
the subject of one of his paintings now in the
Academy of Venice. An early effort of Mansueti's
is the ' Adoration of the Magi,' in the Communal
Gallery of Padua. TheAcademy of Venice possesses
also 'St. Mark curing Anianus the Cobbler'; 'St.
Mark preaching to the Populace of Alexandria |;
and a picture said to represent ' Antonio Riccio
congratulated by his friends on his escape from
Shipwreck.' In the Brera, Milan, is a ' St. Mark
Baptizing Anianus,' formerly in the school of San
Marco, Venice. In later years were painted a
' Pieta ' and a ' St. Jerome,' now in the Locchis
Carrara Gallery, Bergamo. The galleries of Berlin,
Venice, and Verona also possess paintings by this
master, and a picture signed Joannes de Mansuetis
pinsit is in the possession of Mr. J. Q. Grace.
Of the dates of his birth and death no exact
information can be had.
MANTEGNA, Andrea, was born in t&e neigh-
bourhood of Padua in 1431. He was the son of
humble parents, since, according to Vasari, he
herded cattle in his youth, and was adopted by
Francesco Squarcione as his foster-child in 1441,
in which year he was entered on the register of
Paduan artists. Prom Squarcione he learned the
first rudiments of his ai't, although it is evident
from his paintings that he had studied the master-
pieces of Bellini, Donatello, and Lippi. Mantegna
commenced to show his talents at a very early age.
He painted a ' Virgin and Child ' for the high altar
of Santa Sofia, Padua, when only seventeen years
old. His earliest known fresco is that of ' SS.
Bernardino and Anthony supporting the Sacred
Monogram,' above the high portal of Sant' Antonio
of Padua. It was painted in 1452. The Brera,
Milan, possesses an altar-piece with St. Luke and
other Saints, which was painted in 1454 for Santa
Giustina, and shows his earlier style as a worker
in tempera. There is, too, in the Museum of Naples,
a St. Eufemia, painted apparently from a marble
statue, which bears the same date. Aoogrding to
Vasari, Andrea first commenced to work in the
Eremitani Chapel, Padua, after 1448. It is believed
that Mantegna finished the frescoes representing
'The Call of SS. James and John by Christ,' and
' St. James exorcising the Devils,' which Pizzo'o's
sudden and violent death prevented his completing.
Those entirely executed by Andrea are ' St. James
baptizing Hermogenes ' ; 'St. James before Herod ' ;
' St. James, on his way to Martyrdom, blessing a
Convert ' ; ' The Martyrdom of St. James ' ; ' The
Martyrdom of St. Christopher ' ; and ' The Removal
of the Body of St. Christopher.' These were exe-
cuted in the years 1453-59. About this period
Mantegna married Niocolosia, the daughter of
Jacopo Bellini, which was probably one cause of
the estrangement which had been gradually grow-
ing up between Squarcione and himself ; for there
had always existed a certain antagonistic rivalry
between the schools of the Bellinis and of Squar-
cione. To these years may be referred the fine
altar-piece (No. 274) in the National Gallery, which
may be looked upon as an example of the purest
art of Mantegna. By some connoisseurs it is placed
102
as early as 1456. Attracted by the renown that
Andrea was now gaining by his works, the Marquis
Lodovico Gonzaga made liberal overtures to him
at the close of 1456, and Andrea consented*to go
to Mantua as soon as he should have finished the
commissions entrusted to him by the Protonotary
of Verona and others. That dignitary had ordered
an altar-piece for the churcli of San Zeno, to consist
of a life-size ' Virgin and Child, attended by Angels,
with eight Saints ' ; and a predella with three sub-
jects, viz., ' The Agony in the Garden ' ; ' The Cruci-
fixion ' ; and ' The Ascension.' This altar-piece was
long in the church, but is now partly dispersed.
The main picture is still in place in San Zeno, but
the ' Crucifixion ' is in the Louvre, and the remain-
ing two panels in the Museum of Tours. In the
year (1459) which saw the completion of this altar-
piece, Andrea executed a subject for the Podesta of
Padua, which Messrs. Crowe and Cavalcasselle be-
lieve to be the ' Agony in the Garden ' now in the
possession of Mr. Baring. In its background there
is a view of Padua, with the city gate and the
church of the Eremitani. It is probable that
Mantegna entered the service of the Gonzagas
about 1463, for in that year he was residing at
Goito, where that family had a castle, and where
he painted many pictures and frescoes,, now either
lost or dispersed. In the UflBzi there is a triptych
that once belonged to a chapel of the Gonzagas ;
it represents the Adoration of the Magi, the
Circumcision, and the Resurrection. To this
same period belong the ' Virgin and Child ' ; ' The
Presentation ' ; and a portrait of Matteo Bozzo,
Abbot of Fiesole, all now in the Berhn Gallery ;
also the ' St. George in Armour,' in the Academy
of Venice ' ; arid the ' St. Sebastian ' at the Belve-
dere, Vienna. About 1468 Andrea settled down
at Mantua with his family. The frescoes executed
by him in the Castle of Mantua, in the rooms
known as 'the Camera degli Spoai,' and 'the
Schalcheria,' are still preserved. In the first-named
are a series of episodes taken from the life of
Lodovico, containing portraits of himself, his wife,
and the different members of his family and house-
hold ; the ceiling is decorated in monochroine with
various mythological subjects, and eight medallions
of the Roman Emperors ; these frescoes are dated
1474. Those in the Schalcheria are of about ten
years later, and chiefly consist of hunting scenes
and portraits of the Emperors. Besides these
works for his patron, these years saw the production
of 'The Dead Christ wept over by the three Maries,'
now in the Brera, Milan ; and ' The Death of the
Virgin ' (painted about 1470), now in the Museum
of Madrid. In 1476 Lodovico gave Mantegna a
site for a villa, whereupon the artist began one of
great beauty, both in design and decoration. It
still remains, but its ornament has long since been
destroyed. In the year 1478 the Marquis died,
leaving his possessions to his son Federigo.'who
honourably fulfilled bis father's engagements to the
painter, and continued to protect him on his own be-
half. In 1480 the artist declitied to paint a portrait
of the Duchess of Milan, the Marquis Federigo him-
self writing the letter of refusal. In 1483 Lorenzo
de' Medici visited Mantegna's workshop, and ex-
pressed his admiration for all he saw there ; and a
year afterwards Giovanni della Rovere, Governor
of Rome, wrote to the Bishop of Mantua, a brother
of the Marquis, asking him to use his interest with
Andrea to induce the painter to send him a picture.
This was refused on the plea that Andrea had no
Mautegna
PAINTERS AND ENGRAVERS.
Itlantuano
time to spare, being hard pressed to finish a room
the Marquis wished to occupy that summer. Before
the summer was over, however, Federigo died
leaving his estates to his son, Francesco II., then a
mere youth. Dreading lest he should not obtain
from the new Marquis such favour and patron-
age as he had won from Lodovico and Federigo,
Mantegna wrote letters to his former patrons and
friends, among others to Lorenzo de' Medici, begging
aid and assistance, and explnining his heavy losses
and present necessities. Happily, however, for
Mantegna, his position at the Mantuan Court was
not permanently shaken, while orders fromi his
ancient patrons helped to lift him out of difficulty.
Among other commissions then received he exe-
cuted onefor a 'Madonna and Saints' fortheDuohess
of Ferrara. This picture Messrs. Crowe and Caval-
casselle believe to be the ' Madonna and Child, with
SS. Joseph, Anna, and John the Baptist,' formerly
in the possession of Sir Charles Eastlake, and
now in the Dresden Gallery. Signor Morelli places
it, however, between 1497 and 1606. Between 1485
and 1492 Andrea painted the famous 'Triumphs
of Caesar,' now at Hampton Court. They were
originally designed for the decoration of the
theatre erected iu the Castle of Mantua in 1501,
when the Adelphi of Terence and the Comedies
of Plautus were performed. These frescoes, nine
in number, are now much injured. They belonged
to Charles the First, and at the sale of his collection
were bought in by Cromwell for £1000. In 1488
Mantegna was knighted and sent to Rome by the
Marquis Francesco Gonzaga. Innocent VIII. de-
sired him to decorate the Belvedere chapel, which
he had just erected for his own private use in the
Vatican. These decorations took the artist two
years to complete. He afterwards painted a ' Ma-
donna and Child ' for Francesco de' Medici, which
is now in the Uffizi ; and the ' Man of Sorrows,'
now at Copenhagen. In the summer of 1490 the
painter returned to Mantua, and again worked on
the 'Triumph of Cassar,' which he finished between
1490-92. From this date his pictures begin to
strongly betray the hands of assistants. Among
these were his two sons, Francesco and Lodovico,
and also, if we may trust Vasari, Francesco Bon-
signori and Gian-Francesco Carotto. In 1495
Mantegna painted, by order of the Marquis Fran-
cesco, an altar-piece for the church of S. Maria
della Vittoria, Mantua, which had been erected by
the Marquis to commemorate the battle of Fornovo.
This picture is now in the Louvre. It represents
the Marquis, in full armour, kneeling at the feet of
the Virgin and Child, who is attended by the arch-
angels, and the saints Longinus, Andrew, John
the Baptist, and Elizabeth. Andrea was also an
engraver, and among other works, engraved his
own ' Triumphs of Csesar.' Impressions are now
very scarce. In 1499 he furnished a design for a
statue of Virgil, which was to have been placed in
some public square in Mantua ; the sketch is now
in Paris. In his old age Mantegna again fell into
difficulties, partly through his own indiscretion
and extravagance, partly through the ungenerous
treatment he met with from the Gonzaga family.
His last strength was given to the elaboration of a
' Masque of Comus ' for the Marcluoness Isabella of
Mantua, to whom he sold a portion of his collection
of antiques. He died in the autumn of 1 506, aged 75.
Among his best works we may quote the following :
Berlin. Museum. Portrait (of Matbeo Bosco, Abbot
of Fiesole);
Berlin.
Dresden.
Florence.
Museum. Presentation iu the Temple
Gallery. Holy Family.
Vffi.zi. Madonna and Child.
» i; A Triptych — Adoration of the
■c, , ,. . „ „ Magi, Presentation, Ascension.
Franklort. Gallery. St. Mark
Hampton Court. The Triumph of Julius C^sar.
{Nine cartoons on linen.)
London. Nat. Gallery. Virgin and Child enthroned.
» » The Triumph of Scipio.
» )> Two allegorical female figures
(? Temperance and Chastity).
» ,) Samson and Delilah.
Madrid. Museum. Death of the Virgin. ^
Mantua. Castello. Frescoes.
Milan. Itrera. St. Luke and Saints.
,, ", II . The Dead Christ and Maries.
^^'"'^ Itrll^l^-oe s.
Paris. Louvre. Madonna della Vittoria.
II „ Parnassus.
)i I, Wisdom victorious over the
Vices.
Tours. Museum. Christ on the Mount of Olives.
II _ „ The Ascension.
Turin. Gallery. Madonna and Saints.
Venice. Academy. St. George.
Verona. San Zeno. Madonna and Saints.
Vienna. Gallery. St. Sebastian.
Of his engravings we may mention :
Battle of the Sea-gods.
Dancing Muses of the Parnassus.
Descent from the Cross.
Entombment.
Hercules and Antseus.
Portraits of Lodovico and Barbara Gonzaga.
St. Andrew, St. Longinus, and the Risen Christ.
St. Sebastian.
Scourging of Christ.
Triumphs of Juhus Caesar.
Virgin of the Grotto.
MANTEGNA, Bernardino, son and pupil of
Andrea Mantegna, horn in 1490, assisted his father,
and at sixteen gained a certain reputation. Fran-
cesco, another son, was working in 1494 for
Francesco de Gonzago, and after his father's death
he finished some of his pictures. It has sometimes
been asserted, but on very slight grounds, that he
was the first master of Correggio. Two small
pictures in the National Gallery are ascribed with
some probability to Francesco. He was still living
in 1517. Lodovico, the youngest son of Andrea
Mantegna, died in 1509.
MANTEGNA, Carlo del, a pupil and relation
of Mantegna, assisted his sons in finishing their
father's pictures. In 1514 he had a school at Genoa.
MANTOVANO, Adamo, Diani, Giovanni Bat-
TiSTA. See Scclptore.
MANTOVANO, (or Mantuano,) Giorgio and
Teodoro ; see Ghisi. Andrea ; see Andreani.
MANTOVANO.Rinaldo, was born at Mantua, and
was one of the more distinguished scholars of Giulio
Romano. In the church of Sant' Agnese at Mantua
is a fine picture by him of the ' Virgin and Infant,
with SS. Agostino and Girolamo,' composed and
designed with a grandeur so much beyond his age,
that it gave rise to a suspicion that it was painted
from a drawing by his instructor. Two pictures by
him have long been in the National Gallery, where
for many years they were ascribed to his master
Giulio. Rinaldo died young.
MANTUANO, Dionisio, born at Bologna about
1624, was a painter and architect. After having
spent some time at Genoa, he was in 1656 employed
at the theatre of the Buen Retire, in Spain ; after this
he received the Order of Christ, and was appointed
painter to the king. In conjunction with Vicente
103
Hanuel
A BIOGRAPHICAL DICTIONARY OF
DIarceuay
de Benavides he painted the front of the house of
the Marquis de los Valbases, and with Eicci and
Carreno worked in the cathedral at Toledo. Among
his own compositions we may name especially the
ceiling in the ladies' gallery in the Alcazar at
Madrid. Dionisio died at Madrid in 1684.
MANUEL, Hans Rudolph, the son of Nicolans
Manuel, was born at Brlaoh in 1625, and studied
painting at Basle, under Maximin, about 1544.
Several good pictures by him, especially portraits,
are to be met with at Berne. He also designed a con-
siderable number of bird's-eye views of towns, and
executed several woodcuts. Manuel died in 1572.
MANUEL, NiooLAns, called Deutsch, a Swiss
artist, born at Berne about 1484, was a painter,
wood-engraver, poet, statesman, soldier, and re-
former. It is most probable that he went to
Venice in 1511 and studied under Titian. His
chief work is the 'Dance of Death,' a series of
frescoes for the Dominican convent at Berne, which
was painted between 1514 and 1522. It exists now
only in copies, which show it to have been entirely
in the style of Holbein. Another excellent work,
representing ' Solomon's Idolatry' (1518), has also
come down to us in a copy. Manuel died at Berne
in 1530 or 1531. He signed sometimes with his
name, sometimes with the annexed monograms :
MM)
I^.
There are some woodcuts by him from his own
designs, in a free, slight style.
MANUEL, PoLEQUiN, or Jossequin, was a minia-
ture painter, who flourished in the 15th century.
In 1400 he was engaged by the Duke of Burgundy
to make designs for a Bible. Nothing is known of
his life, but he had a brother Nicolas, who helped
him with his work.
MANWAIRING. Strutt mentions an artist of
this name as the engraver of a portrait of the Rev.
Mr. Madan about the year 1760.
MANZINI, GiusTO di Andrea, was born in
1440. He was a Florentine, and painted by turns
under Neri di Bicoi, Pra Filippo, and Benozzo
Gozzoli. In his own diary he tells us that, under
Benozzo, he painted the saints at the sides of the
window in the choir of S. Agostino, and the four
apostles on the vaulting of the entrance. The
former are obliterated but the apostles remain, and
show that Giusto was far inferior to his master.
Crowe and Cavalcaselle enumerate five pictures
which they ascribe to him. He died in 1498.
MANZINI, Raimondo, a painter of Bologna, was
born in 1668, and was probably first instructed by
his father, Cbsaee Manzini. At Bologna there is
a collection of pictures of fishes, birds, and floweis
by him. At one time of his life he was appointed
ibiniste to the Margrave of Baden. The date of
his death is unknown.
MANZONI, Rudolph, a fruit, flower, and minia-
ture painter, was born at Castelfranco in 1675, and
died in 1743.
MANZUOLI, Tommaso d' Antonio, (called Maso
DA San Feiano,) was born at San Friano in 1536.
He was first a disciple of Pierfrancesco di Jacopo
di Sandro, and afterwards of Carlo da Loro. An
admired work by him is a ' Visitation,' formerly in
the church of San Pietro Maggiore at Florence ;
afterwards taken to Rome, and placed in the Gal-
lery of the Vatican ; it was painted when he was
104
thirty years of age. There are other works by
him in the church of the Santa Trinita, and in
the Florentine Gallery. He died in 1575.
MARACCI. See Mareacci.
MARATTI, Caelo, (or Maratta,) an eminent
painter, also an etcher, was born at Camuraiio, in
the March of Ancona, in 1625. At eleven years
of age he showed so strong a propensity for
design that his parents sent him to Rome, where he
entered the school of Andrea Sacchi, under whom he
studied for several years, and was his most favoured
disciple. On the recommendation of his instructor,
he made the works of Guido Reni, the Carracci, and
Raphael the chief objects of his study. He returned
to his own country, and did not revisit Rome till 1650,
when he went there in the train of Cardinal Albrizio,
Governor of Ancona. He was much employed in
painting Holy Families, pictures of the Virgin, and
female saints, on which account the contemporary
artists, particularly Salvator Rosa, supposing him
incapable of higher or more arduous exertions,
satirically styled him ' Carluccio delle Madonne.'
To counteract the efforts of his enemies, Andrea
Sacchi procured him the commission to paint a
picture for the Baptistery of the Lateran, where
he represented ' Constantine destroying the Idols,' a
performance which silenced his calumniators, and
was esteemed one of the ablest productions of the
time. It procured him the patronage of Alex-
ander VII., under whose protection, and that of
his successors, he became the most popular artist
at Rome. In 1704 he received the Order of Christ
from Pope Clement XI. for cleaning Raphael's
frescoes in the Vatican, and Louis XIV. appointed
him court painter through admiration for his picture
' Daphne.' Maratti died at Rome in 1713. Among
the best of his more accessible works are :
Brussels Museum : Apollo and Daphne.
Chiswick : Pope Clement XI.
Florence, Pitti Collection : St. Philip Neri.
Hampton Court : Virgin and St. Francis.
Louvre : Sleep of the Child Jesus.
,, I Marriage of St. Catherine.
„ Portrait of Maria Maddalena Bospigliosi.
„ His own portrait.
National Gallery: Portrait of a Cardinal.
National Gallery of Ireland : Europa.
By Maratti we have several etchings executed
with much freedom and spirit. Some of these are
original, others after various Italian masters.
MARATTI, Maeia, daughter and pupil of Carlo
Maratti. She married Giarabattista Tappi, a poet,
and abandoned painting for literature. Her portrait,
painted by herself, is in the Corsini Palace at Rome.
MARAZZONE, II. See Mazzuchelli.
MARC. See March.
MAECA. See Della Mahca.
MARC-ANTONIO. See Raimondi.
MARCEL, N., was born at Frankfort in 1628,
and was a scholar of Georg Vlugels, an indifferent
painter of still life. Marcel greatly surpassed his
master, and his pictures of flowers, fruit, shells, &o.,
are highly finished and good in colour. He died
at Frankfort in 1683.
MARCEL, Provenzale, an Italian painter, was
born at Cento in 1576. He was a pupil of Paolo
Eosetti, and executed a ' Mater Dolorosa.' He
died in 1639.
MAECELLIS, Otto (or Marcellus). See
SOHEIECK.
MARCENAY, Antoine de Guy, a French en-
grayer, was born at Arnay le Duo in 1724, and
died in 1811. He was one of the most successful
Uarch.
PAINTERS AND ENGRAVERS.
Slarclies
imitators of the style of Rembrandt, and has
engraved several plates of portraits and other
subjects in which the dry point is used with great
dexterity. Among others, we have the following
prints by him :
PORTRAITS.
Henry IV. of France ; after Janet,
The Duke of Sully ; after Pourbus.
The Chevalier Bayard.
The Maid of Orleans.
Viscount Turenne ; after Champagne
Prince Eugene ; after KupetzH.
Marshal Villars ; after Sigamd.
General Paoli.
Stanislaus Augustus, Eling of Poland ; after Bacierelli.
Marshal Saxe ; after Liotard.
The Portrait of Tintoretto ; after a picture by himself.
A half-length of Rembrandt, with a palette.
Sunset ; aj'ter Vernet.
A View ot the Sea-coast, with Fishermen ; after the same.
A Land-storm ; after Van Uden.
A Skirmish of Cavalry ; after Parrocel.
The Testament of Eudamidas ; after N. Poussin.
Tobit recovering his Sight ; aftei- Bembrandt.
The Lady with the Pearl, an oval, with the date 1768 ;
after the same.
The (lady) Gardener ; after G. Sou, with the date 1766.
MARCH, EsT^BAN, (or Marc,) was, according to
Palomino, a native of Valencia, and a scholar of
Pedro Orrente, under whom he became an eminent
painter of battles. He adopted the Venetian
style of painting, and became a kind of Quixote
in his art. In order to rouse his imagination he
would arm himself cap-k-pi^, place lance in. rest,
and to the sound of drums and trumpets make a
furious attack on the walls of his atelier. In the
church of San Juan de Mercado, in Valencia,
is an altar-piece of the 'Last Supper,' highly com-
mended by his biographer, and for the Bueno
Retiro he painted a large picture of the ' Marriage
at Cana.' He died at Valencia in 1660, at an
advanced age. His works are chiefly to be found
at Valencia and Madrid.
MARCH, Miguel, (orMAEC,) the son and scholar
of Estiban March, was born at Valencia in 1633.
He painted history and battles in the style of his
father, but with much less ability. One of his
best performances is the ' Death of St. Francis,' in
the church of the Franciscans at Valencia. March
died at Valencia in 1670.
MARCHAL, Charles FRANgois, a French subject
painter, bom in Paris in 1825. He entered the Bcole
des Beaux Arts in 1843, and studied under Drolling
and Dubois. His reputation was acquired by his
pictures of Alsatian life and customs. He first
exhibited at the Salon in 1852. He died by his
own hand in Paris in 1877. Amongst his chief
works are :
F6te de la M^re. 1857.
Wasted Labour. 1860. (Beziers Museum.)
Interior of an Inn at Bouxwiller. 1861.
The Servants' Fau:, BouxwJUer. 1864. (Luxembourg
Gallery, Paris.)
Spring-time. 1866.
Penelope. 1868.
Alsace. 1873.
The Return from the Masquerade.
Phryne.
MARCHAND, Gabriel, an engraver, was bom
in Paris about 1755. He was a pupil of E. Voy-
zard, and executed several works after Barbier,
Sohmutzer, and others.
MARCHAND, Johann Christian, an engraver,
son of Johann Jakob Marchand, a portrait painter,
was born in 1679. He was a pupil of Preissle
and Bernigeroth, and engraved some portraits an(
historical pictures. He died in 1711.
MARCHAND, Pierre (or Marohant). Floren
le Comte and Professor Christ mention an arti.s
of this name, who lived about the year 1577, aiic
engraved both on wood and on copper.
MARCHANT, J., engraved a portrait of Mrs
Gibber, after Hudson, in 1749.
MARCHANT, Jan, an historical and still-liff
painter, was born at Antwerp in 1808. In 183S
he migrated to France, and became Professor oJ
Drawing at the Cavalry School at Saumur. H(
died in 1864.
MARCHANT, Petrus. A book of goldsmitli'i
ornaments, executed with the graver, is signed
Petrus Marchant fecit. 16S3. Perhaps identica
with Pierre Marchand {q. v.).
MARCHELLI, Rolando, an Italian painter, was
bom at Genoa in 1664. He was a pupil oi
Maratti, but abandoned painting for commerce
and died in 1751.
MARCHESI, Francesco and Bernardino. Ses
Dei Zaganelli.
MARCHESI DA COTIGNOLA, Girolamo, flour-
ished in the early part of the 16th century, and was
probably a pupil of Zaganelli. The church of Sar
Francesco, at San Marino, contains his two firsi
pictures, both Madonnas with Saints and Angels,
In Lord Ashburton's collection there is a ' Holj
Conversation,' signed and dated 1513 ; and the
Bologna and Berlin Galleries possess works by
him dated from 1516 to 1526. Vasari asserts thai
he painted the portrait of Gaston de Foix wher
he lay wounded at Ravenna in 1612 ; he also saye
that during his latter years Marchesi went tc
Naples and then to Rome, where he painted the
portrait of Paul III., and that he died there in his
64th year of a broken heart, through liaving beer
entrapped into marriage with a woman of i^
fame. His will was made at Bologna in 1531
and can still be seen. The following are among
his works :
Berlin. Museum. Marriage of the Virgin. 1516.
„ „ St. Bernard and his Disciples.
1526.
Bologna. Pinacoteca. Marriage of the Virgin.
„ „ Virgin, Child, the Baptist, an<3
Saints.
„ „ PredeUa — The Annunciation
Nativity ; Flight into Egypt.
Ferrara. S. Maria in | j^.^i^g ^^^ jjight.
Paris. Louvre. Bust of Christ bearing His Cross.
{Signed apparently Hieronimvs
Maeohesivs de{?) Cotignolj
FACIEBAT 1520 (i").)
MARCHESI, Giuseppe, called II Sansone, was
born at Bologna in 1699, and was first a scholar oi
Marc Antonio Franceschini,but afterwards studied
under Aureliano Milani. To the vigorous colour
and fore-shortening of his first instructor, he
united the correct design of Milani. He has left
many works in the churches of Bologna. In San
Pietro there is a ' St. Ambrose repulsing Theodosius.'
His picture of the ' Birth of the Virgin,' in La
Madonna di Galeria, and that of the ' Resurrection,'
in Santa Croce, are painted in the style of Frances-
chini. One of his most esteemed works is the ' Mar-
tyrdom of St. Prisca,' in the cathedral of Rimini,
on the conception of which the 'St. Agnes' of
Domenchino seems to have had some influence.
Marches! died in 1771.
105
Karchesini
A BIOGRAPHICAL DICTIONARY OF
Marconi
MARCHESINI, Alessandeo, according to
Orlandi, was born at Verona in 1664, and received
his first instruction in art from Biagio Faloieri.
At the age of sixteen he was sent to Bologna, and
placed under the tuition of Carlo Cignani. Under
that master he became a reputable painter of
history, and on his return to Verona was employed
in San Biagio, La Madonna della Scala, and other
public edifices. He resided some time at Venice,
where he was chiefly occupied in painting easel
pictures of historical and fabulous subjects. He
died in 1733.
MARCHESINI, Pietbo, born at Pistoja in 1697,,
was a pupil of Gabbiani at Florence. He painted
several pictures for the churches and palaces in
Florence and Pistoja. He died in 1757.
MARCHETTI, Domenico, (or Mbechetti,) an
engraver, was born at Rome in 1780, and was still
living in 1831. He worked in the manner of G.
Yolpato. Among his best productions are :
Dante and Beatrice ; after Agneola.
Keligion with the Cross ; after Canova.
The Tomb of the three Stuarts ; after the same.
MARCHETTI, Marco, called Maeco da Faenza,
flourished at Rome in the pontificate of Gregory
XIII., who employed him in ornamenting the
Loggie of the Vatican with arabesques, in which
he sought to follow the style of Giovanni da
Udine. He decorated twenty rooms in the ducal
palace at Florence in the same fashion. His
talents were not, however, confined to that branch
of the art. He painted historical subjects, which
were correctly and elegantly designed, with a
more than usual mastery of the nude. Of this
his ' Murder of the Innocents ' in the Vatican is an
example. In the church of the Trinity, de' Monti
he painted a series of pictures of the life of St.
Francis di Paolo. He died in 1588.
MARCHI, DoMENioo, known as Tempesting,
also DoM. Tbmpesta, was, according to Lanzi, born
at Florence in 1652, and was a scholar of Baldassare
Franceschini. He painted portraits and landscapes,
but distinguished himself more as an engraver
than as a painter, and is said to have received in-
struction in that art fi-om li. Nanteuil and Gerard
Bdelinck. Among other plates he engraved a set
of portraits of the Electors Palatine. He was
called 'Tempestino ' from having been a pupil of
Peter Molyn, who was named Tempesta. He was
a great traveller, and there is much uncertainty
in his history. The date of his death is variously
given ; some placing it in 1718, others in 1737.
It may be, however, that there were two artists
called Domenico Tempesta, and that the accounts
of them have been blended.
MARCHI, Giuseppe Pilippo Libeeati, was born
at Rome about 1735, and brought to England in
1752 by Sir Joshua Reynolds. By him he was
much employed in preparing his palette, in paint-
ing draperies, and in ' forwarding ' pictures. He
attempted about 1770 to establish himself as an
independent portrait painter, but after some brief
experience both in London and in Wales, he was
glad to return to his former employer. He died in
London in 1808. He engraved several plates in
mezzotint from portraits by Sir Joshua ; among
them we may name :
Lady Mulgrave, when Miss Oholmondeley.
Mrs. Crewe and Mrs. Bouverie.
Mis Oliver.
Dr. Goldsmith.
Mrs. Hartley, with her child.
106
MARCHIORETTO, Pieteo, painter and draughts-
man, was born in the neighbourhood of Feltre in
1772. He owed his education in art to a Venetian
noble, who placed him first with Lazzarini, and
afterwards with Frans Cauzitsch. He afterwards
settled down as a teacher at Verona, and was also
employed in the chalcographio institute of Bis-
domini. He painted a ' Holy Sepulchre ' for the
church at Brixen, and a number of north Italian
landscapes for the Countess Kielmannsegge.
MARCHIS, Alesio de, was a Neapolitan, and
was born at the beginning of the 18th century.
He painted landscnpes, sea-ports, and towns on
fire, in which he followed the style of Salvator
Rosa. His principal works are at Perugia and
Urbino. Lanzi reports that, in order to imitate
nature more exactly in his conflagrations, he set
fire to a barn, for the purpose of study ; the fact
being discovered, he was sent to the galleys for
some years, but was released from his punishment
in the pontificate of Clement XI., who employed
him in his palace at Urbino, which he decorated
with several of his best works. One of his most
celebrated pictures is the ' Burning of Troy,' in
the Palazzo Semproni. He died about 1742.
MARCILLAT,Guilladme Pieeee de, (called by
others Guglielmo da Marcigia, or Guillaume db
Maeseille,) who was chiefly a painter on glass,
was born at St. Michel, near Verdun, or, according
to others, at Marseilles, in 1475. He was instructed
in the art by'Claude (' Claudio Francese '), at
Nevers, and there entered the order of the Domini-
cans. Subsequently the two went to Rome together,
and painted in the Vatican and in Santa Maria del
Popolo, but their works in the Vatican have dis-
appeared. While in Rome Marcillat entered the
order of the Benedictines, in 1509, and-subsequently
executed, from the designs of Claude, several works
for Cardinal Passerini at Cortona, and others at
Arezzo, Florence, Perugia, and Castiglione. He
died at Arezzo in 1537.
MARCKB, Julie Robeet van, was bom in 1801.
She was the daughter of M. Robert, director of the
Sevres factory, and married J. van Maeoke, a land-
scape painter and pupil of Watelet. She painted
fruits and flowers. Her death took place in 1875.
Her two sons have both reached fame as painters.
MARCO, Calabeesi. See Caedisco.
MARCO DI ANTONIO. See Palmezzano.
MARCOLA, Maeoo, an Italian historical painter,
was bom at Verona in 1728, and died in 1790.
Nothing is known of him.
MARCOLINI, Fbancesco, an Italian engraver
on wood, was born at Forli about the year 1500.
He was from 1630 to 1535 a printer at Venice, but
after that he settled at Verona. In 1540 he pub-
lished a book entitled ' II Giardino de' Pensieri,'
with woodcuts, executed by himself, after the
designs of Giuseppe Porta.
MARCONI, Rocco, painter and engraver, was a
native of Treviso, and flourished about the year
1505. He was probably a pupil of Giovanni
Bellini. His chief performances are in the
Academy at Venice. His picture in the church of
San Niccolo, which is considered one of his earliest
works, is dated in 1505. One of his best pictures
is the 'Adulteress before Christ,' formerly in San
Giorgio Maggiore, now in the Procuratie Nuove,
at Venice. Another example of the same subject
is in the Gallery at Berlin. Dresden, St. Petersburg,
and Treviso also possess pictures bj- him. Marconi
engraved some plates.
Harcovaldo
PAINTERS AND ENGRAVERS.
Hariani
MARCOVALDO, Coppo di, was a contemporary
of Andrea Tafi, and the author of a picture repre-
sentiiig the ' Virgin enthroned,' in the convent
church of the Servi at Siena, and dated 1261.
He is also known to have executed between the
years of 1265 and 1275 a number of wall paintings
and a 'Madonna' in the cathedral at Pistoja.
These have now all perished.
MARCUARD, Robert Samuel, an English
designer and engraver, was born in 1761, and died
about 1792. He was a pupil of Bartolozzi, whose
manner he followed, and was considered one of
the best scholars of that master. His engravings
are chiefly after the works of contemporary
painters, particularly Cipriani, Angelica Kauff-
mann,W. Hamilton, Hoppner, Flaxman (sculptor),
Stothard, Peters, and Sir J. Reynolds.
MARCUCCI, Agostino, was a native of Siena.
He was educated at Bologna, and had the advantage
of studying in the school of the Carracci, until
Pietro Facini attempted the establishment of a
rival academy, to which Marcuoci attached himself.
He painted some pictures for the churches at
Bologna : among them ' The Death of the Virgin '
in the Church of the Conception. Marcucci died
early in the 17th century.
MARCUS, Jacob EiiNfST, was born on the island
of St. Eustatius in 1774, and instructed in the
rudiments of design by S. Gobl^, and in engraving
by Vinkeles, at Amsterdam. In 1798 he obtained
the first prize at the school of design, and in
conjunction with Fock founded a society of
artists, ' Kunst zy ons Doel.' Though his land-
scape drawings wei-e esteemed, he distinguished
himself more as an engraver/ and we have by him
a .series of one hundred plates, representing land-
scapes and portraits after the designs of Caspari.
Marcus died at Amsterdam in 1826.
MARl!;, Jean Charles, born at Berlin in 1772,
was an engraver, and pupil of the Berlin Academy,
of which he became a professor in 1813. He died
in 1865. Besides several maps, he engraved some
pictures, among others the ' Crowning of the Monu-
ment of Lysicrates at Athens,' afterMatthaus Mauoh.
MARE, P; DB. See Db Maee.
MARE, RicHAET DE LA. See De laMare-Biohaet.
MARl^CHAL, — , a painter, who died in 1803,
is chiefly known by his paintings, on parchment,
of Mammalia in the Paris Zoological Museum.
Lallier and others have engraved after him.
MAR:^CHAL, Laurent Charles, was bom at
Metz in 1801. He studied under Regnault, and
distinguished himself chiefly as a painter on glass.
He died in 1877. He has left a few genre pieces
in oil and pastel.
MARIES. See DBSMARifiEa.
MAREL, or MARRELLUS, Jacob, painter of
still life, was bom at Frankfort about 1614. He
is said to have been a pupil of Georg Flegel at
Frankfort, and of J. D. de Heem at Utrecht. He
was the first master of Abraham Mignon. His
pictures are very rare, but one has recently been
added to the Rijks Museum, Amsterdam, with the
inscription Jacohus Marrellus fecit Utreic, 1634.
Marel died in Brussels about 1685.
MARESCALCO, II. See Buoncoksiglto.
MARESCALCO, Pietro, called Lo Spada, a
native of Feltre, was a portrait _ and historical
painter, and flourished about 1676. At Feltre
there is a 'Madonna' by him; at Dresden a
' Salome bearing the head of John the Baptist,' and
a ' Solomon and the Queen of Sheba.'
MARESCOTTI, Bartolommeo, was a native of
Bologna, and was brought up in the school of
Guide Reni, of whose style he was an unsuccessful
imitator. There are some of his works in the
churches and public edifices at Bologna ; in San
Martino Maggiore, the ' Martyrdom of St. Barbara ' ;
in San Stefano, the ' Crowning of the Virgin ' ; and
' St. Sigismondo condemned to death,' in the church
dedicated to that saint. He died in 1630.
MARGARITONE di MAGNANO, was born at
Arezzo in 1216. He was painter, sculptor, and
architect, and a man of note in his day. In-
fluenced, however, by the fact that he was a
fellow-townsman, Vasari has spoken of him at
greater length than the excellence of his works
will justify. Of these the best is a ' Madonna with
scenes from the lives of the Saints,' now in the
National Gallery. Margaritone's chief work in
sculpture is the monument to Gregory X. in Arezzo
Cathedral. He died at Arezzo in 1293. The
date of his death has sometimes been given as
1313, which would make him 97 years of age.
This was a mistake arising apparently through
the transposition of a c in the roman numeral.
Margaritone's chief surviving works are :
Arezzo, 8. Francesco. A Madonna.
„ „ Christ on the Cross (colossal).
Liverpool. Institute. CorODation of the Virgin.
London. Nat. Gal. Madonna, with scenes from the
lives of the Saints.
Sargiano, near Arezzo. A St. Francis.
The picture ascribed to him in the Guise collec-
tion at Christchurch, Oxford, is a Byzantine work
of the 17th century.
MARGHINOTTI, Giovanni, was an Italian
historical painter of some talent. He was painter
to Charles Albert of Savoy, and died in 1865.
MARGHUCCI, Giacomo, an engraver and print-
seller of the 18th century. He has left some plates
of antique busts and statues.
MARGUERITE, Archduchess of Austria, who
was born at Brussels in 1480, painted a few
portraits with some skill. She died in 1630.
MARI, Albssandeo, was born at Turin in 1650,
and was first a scholar of Domenico Piola of Genoa,
but afterwards went to Venice, where he studied
some time under Cavaliere Liberi. He next visited
Bologna, and passed some years in the school of
Lorenzo Pasinelli, and on leaving that master,
painted some pictures for Bolognese churches.
His principal residence was at Milan for a time,
where he gained considerable reputation by paint-
ing symbolical subjects, in imitation of the old
masters. According to Lanzi he went to Spain,
and died at Madrid in 1707.
MARIA, EEC DI. See San Giovanni.
MARIA, Francesco di, was born at Naples in
1623, and became a disciple of Domenichino, when
he resided in that city. Like his instructor, he
studied the subjects he painted with the most
profound attention ; and, like him, patiently en-
dured the taunts of his contemporaries for tardiness
and irresolution. His historical works are not
numerous. He excelled in portrait painting ; and
Lanzi reports, that a portrait by him being ex-
hibited at Rome with one by Rubens, and another
by Van Dyck, the preference was given by the
judges, Niccol6 Poussin, Pietro da Cortona, and
Andrea Sacchi, to that of Maria. He died in 1690.
MARIANI, Giovanni Maeia, was a native of
Ascoli, and flourished about the year 1656. He
was a scholar of Domenico Fiasella at the time
107
Marienhof
A BIOGEAPHICAL DICTIONARY OF
Karini
when Valerio Castelli was also under that master,
and in conjunction with him distinguished himself
by several works at Genoa, both in oil and in
fresco. His picture in the oratory of San Jacopo,
of the baptism of that saint, may be ranked with
the best productions of his time. He passed some
part of his life at Rome, and was received into the
Academy there in 1650. He sometimes painted
historical subjects of an easel size, and his works
of this class are found in the collections at Genoa
and Florence. One of the best is a ' Rape of the
Sabines,' in the Florentine Gallery.
MARIENHOF, A., a Dutch painter, -wnB born at
Gorcum in 1650. It is not known by v\rhom he
•was taught, but according to Descamps he passed
the early part of his life in studying and copying
the woj-ks of Rubens. He afterwards settled at
Brussels, where ho was much employed in painting
small historical pictures in the manner of that
master. He died young ; Balkeraa says in 1712.
MARIBSCHI, Jacopo, (or Giacomo,) the son of
Michele Marieschi, was born at Venice in 1711.
After being instructed in design and perspective
by his father, he became a scholar of Gasparo
Diziani. He painted architectural subjects, and
views of Venice, in which he imitated the style of
Canaletto. The National Gallery of Ireland has
two of his works, both views of Venice, which are
there on deposit from the National Gallery of
London. He died in 1794.
MARIESCHI, Michele, was a native of Venice.
He excelled in painting architectural views and
perspectives, and passed the first part of his life in
Germany, where his works were nmch esteemed.
On his return to Venice he painted the most
remarkable views in that city, several of which,
moreover, he has etched. He died in 1743.
MARIETTE, Jean, an eminent French engraver
and print-seller, was born in Paris in 1654. He was
instructed in drawing by his brother-in-law, J. B.
Corneille, with the intention of becoming a painter,
but by the advice of Charles le Brun, he changed
his pursuit, and devoted himself to engraving. He
died in Paris in 1742. Several of his plates -are
from his own designs. He worked both with the
point and the graver. We have a great number
of plates by him, the greater part of which are
frontispieces, vignettes, and other book ornaments.
The following are esteemed his best prints :
The Descent from the Cross ; after Le Brun,
The Angels ministering to Christ in the Desert ; aftm-
the same.
St. Peter delivered from Prison ; after Bomenickino.
Moses saved from the Nile ; after Foussin.
Joseph making himself known to his Brethren , after
M. Corneille.
Christ cnring the Paralytic ; after the same.
St. Louis receiving the Communion; after J. B.
Corneille.
St. Louis received Into Heaven ; after the same.
MARIETTE, Pieree Jean, was the son of Jean
Marietta, from whom he inherited a very con-
siderable property, and an extensive collection of
prints, which, by continual additions, he rendered
the most numerous and select of any private
gathering in Europe. His immense collection
was sold in Paris in 1775. For his amusement he
etched a few landscapes, after Guercino ; and
some heads and studies, after the Carracci and
Pierino del Vaga. He also brought out a ' Traite
des Pierres gravies,' with 250 engravings of antique
gems from his own hand, in 2 vols., folio. He
died in Paris in 1774.
108
MARIGNY, Michel, a French historical painter,
was born in Paris in 1797, and died there in
1829; he was a scholar of M. Lafont and the
Baron Gros. He painted several pictures of large
dimensions for churches at Paris and Rouen, and
one of 'Moses, as the Law-giver,' for a council-
chamber in the Louvre. His last production, a
'Wounded Soldier,' was exhibited at the Luxem-
bourg in 1830.
MARILHAT, Peospeb, was bom at Vertaison,
in the south of France, in 1811, and entered the
Atelier of Eoqueplan at Paris in 1829. There he
executed several landscapes in the classic manner,
During 1831-33 he travelled in Greece, Syria,
Palestine, and Egypt. There his natural bent was
developed, and he studied nature long and con-
scientiously. His power was chieily shown in his
rendering of southern l:ght. He attracted atten-
tion at once with his oriental subjects, but he im-
proved steadily up to -his last years. Marilhat died
in Paris in 1847. His best pictures are:
Enins of the Mosque of Sultan Hakim.
The Esbekieh Square, Cairo.
Caravans at Baalbec. 1840.
Syrian Arabs on the March.
A Souvenir of the Nile. •
MARILLIER, Clement Pieeee, a French de-
signer and engraver, was born at Dijon in 1740y
and died on his own estate near Jlelunin 1808. He
first studied painting under Hall6 at Paris, hut the
cares of maintaining his family compelled him to
illustrate books, and he made numeious drawings
of subjects from the Bible, and for the works of
Dorat, the Abb^ Prevost, De Roucher, Amand
Bacculard, Voltaire, and Sauvigy. He also engraved
from his own designs the landscapes for ' Les
Voyages en France, k, Naples et en Grece,' and
for various other works.
MARIN-LAVIGNE, Louis Stakislas, a French
painter and lithographer, born in Paris in 1797.
He died in 1860. His lithographs form his best
claim to be remembered. The best are :
Battle of Jemappes ; rfter Horace Vemet.
Camille Desmoulins ; after the same.
Netscher and his Daughter ; after Netscher.
Eetreat from Moscow ; after Cogniet.
La belle Jardiniere ; after Haphael.
Mater Dolorosa ; after Mvrillo.
MARINAEI, Onoeio, a painter and engraver,
was born at Florence in 1627. He was first in-
structed by his father, Pietko Maeinaei, and
afterwards by his cousin. Carlo Dolci, and for some
time followed the finished and laboured manner of
the latter, but afterwards adopted a larger style.
His principal works are in the church of Santa
Maria Maggiore, and in that of San Simone at
Florence. He died in 1715. Among his paintings
are:
A series of portraits of painters (Florence).
St. Jerome.
St. Mark healing the sick.
The Hours preceding the chariot of the Sun.
He engraved 19 plates for a mathematical treatise,
written by himself.
MARINAS, De las (or Delle Marine). See
De las Maeinas.
MAEINI, Antonio, was born at Prato in 1788.
He was a pupil of the Academy at Florence. In
1821 he introduced the art of lithography into
Italy, and twenty years later was admitted a member
of the Florence Academy. He restored several of
the frescoes of Giotto, Gaddi, and Gozzoli, and
Marini
PAINTERS AND ENGRAVEES.
Uarmion
painted various Madonnas in the style of the old
masters. He died at Florence in 1861.
MARINI, Benedetto, was a native of Urbino,
and flourished about the year 1625. Acoording.to
Lanzi, he was one of the most distinguished scholars
of Claudio Ridolfi, and on leaving that master
resided some years at Piaoenza, where he painted
several altar-pieces and other works, in which he
united the Lombard with the Venetian style. The
most celebrated of his performances is liis picture
of the ' Multiplication of the Loaves,' in the
refectory of the Conventual!, painted in 1625 ; an
immense composition, painted in oil, and arranged
with surprising ingenuity and variety.
MARINKELLE, Joseph, (called Marinkbltje,)
a Dutch painter, was born at Rotterdam in 1732.
His nickname was an allusion to his small stature.
He was a miniature and portrait painter, and in
practice for a long time at Amsterdam. He died
in 1775, and his death has been ascribed partly
to chagrin caused by a lampoon from the pen of an
authoress whom he had failed to flatter in painting
her portrait.
MARINUS, Ignatius Cornelis, a Flemish en-
graver, was probably born about 1587. The date
of his death is uncertain. His principal residence
was at Antwerp, where he executed several plates,
in a neat but singular style. They are worked
entirely with the graver, with very delicate strokes
crossing each other, and filled up with long dots.
The best are named in the following list :
The Flight into Egypt ; a night-piece ; after Bubens.
St. Ignatius curing the Diseased ; after the smne.
St. Francis Xavier resuscitating a Dead Person ; after
the same.
The Adoration of the Shepherds ; after Jordaens.
Christ before the High-priest Oaiaphas ; after the same.
The Martyrdom of St. Apollonia ; after the same.
A Concert of Village Children ; after C. Saftleven. 1633.
He also engraved some plates, after M. A. Cara-
vaggio. Van Dyck, and others.
MARINUS DE ZEEUW, or VAN ROMER-
SWALE, a Dutch painter of the sixteenth century.
The dates on his pictures range from 1621 to 1560,
and he seems to have been alive as late as 1567.
There can be little doubt that he is the Marino di
Siressa of Vasari, and the Marino di Sirigsea of Guic-
ciardini, for Ziricksee is a town in the district of
Schonwen, part of the province of Zeeland. The
name de Zeeuw, which means simply the sea-lander,
is not to be found on a signed picture by Marinus,
but only this latter appellation, combined some-
times with Romerswalen or Roymerswalen. Hence
we may fairly conclude that Marinus is nothing
more than a Latinized form of de Zeeuw, while
Romerswalen, or van Romerswale, may be a family
name. Nothing as yet has been recovered as to
the facts of this painter's life. His pictures, how-
ever, show that he must have been a disciple, if
not a direct pupil, of Jan or Qnentin Matsys. One
of the best of them is a ' Money-changers,' in the
National Gallery, where it used to be ascribed to
Quentin Matsys.
MARIO DI FiORi. See Nuzzi.
MARIOTTI, — , who was a native of Italy, and
probably a painter, is known only by a slight,
spirited etching of a frontispiece to a collection of
altar-pieces, published at Rome by Giacomo Rossi.
It is after a design by Giro Ferri.
MARIOTTI, Carlo Spiridone, an historical
painter, and native of Perugia, is supposed to have
been a pupil of Subleyras. He died in 1775.
MARISSAL, Philip, a portrait and still-life
painter, was born at Ghent in 1698. He was a
pupil of Leplat. There are several large decorative
pictures by him at Ghent. He died in 1770.
MARKO, Karl, was born at Leutzschau, in
Hungary, in 1790. He studied in Vienna, Rome,
Pisa, and Florence. His pictures are mostly land-
scapes with figures, in the style of Gaspar
Poussin. He died in 1860.
MARKOS, GiORGios, a native of Argos, who,
early in the last century, painted a number of
frescoes in the church of the ' Panagia-Phanerou-
mena,' in the island of Salamis. In this work he
was helped by his pupils. It was finished in 1735.
MARLET, Jean Henri, a French poetical, his-
torical, and portrait painter, was born at Autun in
1771, and was a pupil at the Academy at Dijon,
and afterwards of the Baron Regnault. His com-
positions are numerous, embracing a great variety
of subjects from poetry, history, anecdote, and
fancy. He has published some works in litho-
graphy, among them ' Les Tableaux de Paris.' He
died in 1846.
MARLIE, Ren^e Elizabeth. See Lepici^.
MARLOW, M., an obscure English engraver,
lived towards the end of the 17th century. He
appears to have been employed only by the book-
sellers ; in that capacity he engraved a portrait of
John Mayne, Arithmetician, prefixed to his ' Clavis
Coramercialis ' ; dated 1674.
MARLOW, William, an English landscape
painter and engraver, was born at' Southwark in
1740. He was a scholar of Scott the marine painter,
and also studied in the St. Martin's Lane Academy.
He joined the Incorporated Society of Artists, and
from 1762 repeatedly exhibited at Spring Gardens.
From 1788, however, he was a regular exhibitor at
the Academy until 1796, and again for the last
time in 1807, when his picture was ' Twickenham
Ferry by Moonlight.' In his earlier career he had
painted views of several English noblemen's seats,
and from 1765 to 1768 he travelled in France and
Italy. On returning home he settled first in
Leicester Square, and afterwards at Twickenham,
where he died in good circumstances in 1813. He
painted scenes on the lower banks of the Thames,
and also in the neighbourhood of Richmond and
Twickenham. He also painted and etched some
Italian views : to these he hiis put his name, with
the addition of F. S. A. Some of his pictures are
in the Foundling Hospital ; several have been
engraved, including views of Westminster and
Blackfriars Bridges. The South Kensington
Museum possesses one landscape by him.
MARMIETTI, Lodovico, an Italian engraver,
was born at Parma in the 15th century. He was
a pupil of his father, Francesco Marmietti. He
went to Rome in the train of Cardinal Salviati,
and there made a certain reputation.
M ARMION, Sir Edmund, was an English designer
and engraver, of the time of the two Charleses,
who has left a few etchings of domestic subjects of
ladies and gentlemen, from his own designs. His
prints bear some resemblance to those of Gaywood,
though inferior. There is a portrait of George
Tooke, of Popes, by him, which is scarce; also
some portraits in the style of Van Dyck.
MARMION, Simon, a painter of Valenciennes,
flourished from about 1426 to about 1489. Accord-
ing to contemporary chroniclers, " was worthy of
great admiration " in his time. He was at once
painter and illuminatoi', and we know that he
109
Marmocchini
A BIOGRAPHICAL DICTIONAEX- OF
Marracci
painted a mimber of miniatures for a missal of
Philip the Good. The first mention of him occurs
in 1453, in which year he painted a picture for the
town-hall of Amiens. In 1460 he appears among
-the founders of the Guild of Valenciennes, and in
1468 he was raised, at Tournai, to the rank of
master. No picture can with certainty be assigned
to him, but in all likelikood he painted the altar
screen formerly in the Abbey of St. Omer, whicli
is now in the king's palace at the Hague.
MARMOCCHINI, Giovanna Coetesi, was bom
at Florence in 1670. She was first a pupil of
Lieven Mehus, and afterwards of Pietro Dandini and
Ippolito Galantini. Although she chiefly excelled
in portraits in miniature, she practised both in oil
and in crayons. The grand duchess of Tuscany
was her patroness. She died in 1736.
MARMOLEJO. See Villegas Marmolejo.
MARNE. See Demaene.
MARNEFFE, FEANgoiS de, an obscure Flemish
landscape painter, born in 1793, and died in 1877.
MAROLI, DoMENico, was born at Messina in
1612. He was a scholar of Antonio Ricci, called
Barbalunga ; and on leaving the school of that
master visited Venice, where he studied with profit
the works of the great Venetian masters. Among
his pictures are the ' Martyrdom of St. Placido,' in
San Paolo; and the 'Nativity,' in the Chiesa della
Grotta, at Messina. While at Venice, he painted
with success some pastoral subjects, in the style
of Giacomo Bassano. Maroli fell a victim to the
revolution which took place in Sicily in 1674.
MARON, Anton von, was an Austrian portrait
painter, born at Vienna in 1733. He was a pupil
of Mengs, whose sister Teresa he married. He
painted a portrait of the Emperor Joseph II. His
death took place at Rome in 1808.
MARON, Teeesa von, a sister of Rafael Mengs,
was born at Aussig in Bohemia about 1733. She
studied painting under her father, and in 1752
went to Rome with her brother Rafael. She
married Anton von Maron, and attained to some
excellence as a miniaturist.
MARONE, Jaoopo, was a native of Alessandria,
and flourished from about 1451 to 1484. He spent
most of his life in and around Genoa, where he
painted several altar-pieces for the churches. In
tlie church of San Jacopo at Savona is a picture
of the 'Nativity' by him, painted in distemper, in
a careful, high-finished style. In Santa Brigida,
at Genoa, are two pictures by this master, dated
1481 and 1484.
MAROT, Daniel, the son of Jean Marot, was
born in Paris about 1650-65, and distinguished
himself as an architect, designer, and engiaver.
He is usually styled architect to William III., King
of England. He engraved several plates in the
style of his father, which were published at Paris,
with some of those of Jean Marot, entitled ' Receuil
des planches des Sieurs Marot, pere et fils. ' He also
engraved a set of architectural plates, which were
published at Amsterdam in 1712 ; and the statues
and vases in the palace at Loo. He was living in
1718. We have also the following prints by him :
The great Fair at the Hague, with the Burghers under
arms, saluting the Prince and Princess of Orange ;
in two sheets.
The great Fair at Amsterdam, with the Citizens under
arms.
The Festival of the Birth-day of the Prince of Oranee.
1686.
The Interior of the Audience-chamber at the Hague.
A perspective View of Voorst.
110
MAROT, Fbanqois, a French painter, was born
in Paris in 1667. He was the best scholar of
Charles de la Fosse, and painted history in the
style of that master. One of his most esteemed
works is a picture in the church of Notre Dame,
representing ' Christ appearing to the Three Marys ' ;
another is the ' Martyrdom of St. Lawrence,' in a
church at Rotterdam. He died in 1719. Moreau,
Chereau, and others have engraved after his works.
MAROT, Jean, a French architect and engraver,
was born in Paris in 1620. We have by him
several architectural plates, plans and elevations
of the most remarkable edifices in Paris and its
neighbourhood. In conjunction with S. de la
Boissiere, Is. Silvestre, I. de Paultre, Seb. ie Cierc,
P. Chaveau, and other artists, he executed several
of the plates for the cabinet of the King of
France. The following are his principal prints :
A set of thirteen plates of Churches and pabUc edifices
at Paris ; designed and engraved after their measure-
ment by J. Marot.
A second set of twelve plates of the same.
Twenty-one Views of the Chateau de Kichelieu.
Plans and Elevations of the Louvre ; three plates.
Plans and Views of the Chateau de Vineennes ; three
plates.
Plan and Elevation of the ChStteau de Madrid; two
plates.
MAKQUEZ, Est^ban, aSpanish historical painter,
was born in Estremadura about the middle of the
17th century, and was a scholar of his uncle Fer-
nando Marquez de Joya, who followed the school
of Murillo. At the death of his uncle Marquez
went as a workman to one of the establishments
where they manufactured pictures for exportation
to America ; but not having had suificient practice
and experience in this sort of work, he became the
butt of his fellow labourers, and was obliged to
quit Seville and return to his native place. After
a while he returned to Seville, and having by close
application acquired a tolerable facility in imitating
the style of Murillo, he surpassed all those who
had before made him the object of their mockery.
His works are nearly all in Seville. He died at
Seville in 1720.
■ MARQUEZ de JOYA, Feenando, uncle of
Esteban Marquez, was a painter of portraits, among
which he in 1649 produced that of Cardinal Spinola,
which is engraved by Van der Gouwen. He fol-
lowed the manner of Murillo ; and was a frequenter
of the Academy of Seville from 1668 to 1672,
when he died.
MARQUIS, — , an English portrait painter, who
painted small portraits in oil in the reign of
James I.
MARQUIS, PiEEEE Ch., a French historical
painter, was born at Toimere in 1798. He was a
pupil of Lethiere. He died in 1874.
MARK, Joseph Heineich Lddwiq, was bom at
Hamburg in 1809 ; he there studied under Suhr and
Rosenberg, and afterwards at Munich and Rome.
His pictures deal principally with Bavarian and
Italian peasant life. He died at Munich in 1871.
MARRACCI, Giovanni, was born at Lucca in
1637, and was first a scholar of Pietro Paolini.
When he was fourteen years of age he went to
Rome, where he had the advantage of being
received into the school of Pietro da Cortona,
under whom he studied some time ; and before he
was twenty-five had distinguished himself as an
historical painter. On the death of his father he
returned to Lucca, where he painted several pic-
tures for the fraternity of San Lorenzo, and the
Marrebeck
PAINTERS AND ENGRAVERS.
Marteau
Collegiate de San Micliele. In the cathedral of
Saiit' Ignazio, at San Giovanni, he painted some
considerable frescoes. His brother HirpOLYTE
worked with him. He died in 1704.
MABREBECK, J., was probably a native of
Holland, and flourished about the year 1700. We
have a few mezzotint portraits by him.
MARRON, Mabib Anne Cabrelbt de, historical
painter and poetess, was bom at Dijon in 1725.
The cathedral of that town possesses a ' Conception '
by her. She died in 1778.
MARSDEN, Baebaea. See under Meyee,
Jeremias.
MABSEUS. See Soheieck.
MARSHAL, Alexandbb, a water-colour painter,
who practised in the latter part of the 17th century.
He worked in ' Tradescant's ark,' and made some
good copies after Vandyck.
MARSHALL, Benjamin, an English animal
painter, born in 1767, who practised in London
and Newmarket. His specialty was horses, and
he contributed to the ' Sporting Magazine.' His
works occasionally appeared at the Academy
between 1800 and 1819. He died in 1836.
MARSHALL, Geoege, a Scottish portrait painter,
born in the latter part of the 17th century. He
was a pupil of G. Soougall and Kneller, and also
studied in Italy. He practised at York and in his
native country. He died about 1732.
MARSHALL, Peteb, born in 1762; died at
Edinburgh in 1826. He practised as a painter, but
is chiefly known as the inventor of a mechanical
contrivance known as the ' Peristrephic Panorama.'
MARSHALL, Thomas Falcon, an English sub-
ject painter, born at Liverpool in 1818. He first
exhibited at the Royal Academy in 1837, and in
1840 obtained a silver medal at the Society of
Arts. His practice lay chiefly in Liverpool and
Manchester. He died at Kensington in 1878.
Amongst his works are :
The coming Footstep. 1847. {South Kensington
Museum,)
The Parting Day.
Sad News from the Seat of War.
MARSHALL, William, was an English en-
graver, who probably began to practise the art
early in the reign of James I. ; his works are
dated from 1691 to 1649. He engraved chiefly
for the booksellers, by whom he was employed
upwards of forty years. He worked entirely with
the graver, in a stiff style, without taste. His best
prints are his portraits, of which he engraved a
great number, mostly from his own designs.
Although indifferently executed, they are inter-
esting to the collector, on account of the personages
they represent. He also engraved several frontis-
pieces and other book ornaments. His portraits
include the following :
Sir Thomas More.
Desiderius Erasmus.
William Cecil, Lord Burleigh,
Eobert Dudley, Earl of Leicester.
Nicholas Kidley, Bishop of Eochester.
Lady Jane Grey.
James I.
William Camden, Historian, &c.
William Shakespeare.
Ben Jonst n.
Charles I. ; three prints.
Francis, Lord Bacon.
George Villiers, Duke of Buckingham.
Eobert Devereux, Earl of Essex.
William Alexander, Earl of Stirling.
William Laud, Archbishop of Canterbury.
Nathaniel Bernard, Eector of Kamenham.
Dr. Donne, when 18 years of age. 1635.
The Eev. Dr. John Taylor.
The Rev. John Sym.
The Eev. Josiah Shute.
James, First Duke of Hamilton.
John Miltjn, at the age of 21.
James Shirley, Poet.
Sir Eobert Stapleton, Poet. 161S.
Sir John Suckling, Poet.
FEONTISriECES.
To the Arcadian Princess, 1635.
To the Evangelical Harmony.
To Virgil's Works, by Ogilby. 1649.
MARSHALL, William, was an engraver and
dealer in art, who edited, in 1771, Desgodet's fine
work, ' The Ancient Edifices of Home.'
MARSIGLI, FiLiPPO, born at Naples about 1780,
was professor of the Academy at that town. His
best performance as a painter is ' Homer and the
Shepherds.' Some of his works are in the Palazzo
Reals, others in the church of the Campo Santo.
MARSIGLIA, GuGLiELMO da. See Maboillat.
MARSSEN. See Maetss.
MARSTRAND, Wilhelm Nicholas, a Danish
genre and portrait painter, born in 1810 at Copen-
hagen. He studied in the Academy there, and
also at Munich and Rome. On his return he
became professor, and subsequently director, of
the Copenhagen Academy. His subjects were
chiefly chosen from the manners and customs of
his country, the plays of Holberg, &c. He died
in 1873, Among his works are :
Copenhagen, Gallery. Dalecarlians crossing the Siljan
on their way to church.
„ „ Erasmus Montanus.
„ „ Scene from Holberg's 'Barsels-
tuen,'
„ „ The Visit,
„ „ Portrait of Constantin Hansen,
Hamburg. Museum. Scene from Holberg's ' Potier
d'Etain.'
MARTEAU, Giles de, 'the elder,' was born
at Liege in 1722. He went to Paris when he was
young, and tliere acquired considerable reputation
as one of the most successful revivers (f the dot
style of engraving. He was elected into the
Academy at Paris in 1764. He engraved several
plates of academical figures, after the designs of
some of the most eminent French artists. We
have the following prints by him :
The Portrait of C. van Loo, Painter.
The Education of Cupid ; after Boucher.
Venus and Cupid ; i^ter the same.
The Head of Heliodorus ; after Raphael.
Bust of the Virgin ; after Pierre.
The Entombment ; after Stellaert.
Justice protecting the Arts ; after Cochin.
Lycurgus wounded ; after the same ; his reception plate.
An Allegory on the Death of the Dauphin ; after the
same.
A set of six Landscapes ; after J. Houel.
MARTEAU, Giles db, 'the younger,' the
nephew and pupil of tlie elder artist of the name,
was born at Liege about the year 1760. He engraved
some plates in the style of his uncle. Among
others we may name :
Innocent Pleasure ; after Huet.
The Pet Lamb ; after the same.
Two Hunting-pieces ; after the same.
Cup'd crying ; after the same.
MARTEAU, Louis, a French portrait painter,
born in Paris, who spent most of his life in Poland
and died there in 1805.
Ill
IVIarten
A BIOGRAPHICAL DICTIONARY OF
Slartm
MARTEN, John, an English water-colour painter,
•who practised at Canterbury at the end of the
18th and the beginning of the 19th centuries. He
exhibited at the Academy in 1794 and 1808. There
is a. water-colour view, ' Near Dover,' by him,
dated 1803, in the South Kensington Museum. R.
H. Marten painted in water-colour about the same
time.
MARTENASIE, Pietee, a Flemish engraver,
was a native of Antwerp, but was instructed in
engraving in Paris by J. P. le Bas. We have the
following prints by him:
The "Watering-place ; after Berchem.
The Father of a Family ; atfer Greuze.
The Eape of the Sabines ; after Rubens.
MARTIN, David, an English portrait painter
and mezzotint engraver, was born at Anstruther,
in Fife, in 1736. He was a pupil_ of Allan
Ramsay, and when quite young accompanied him
to Rome ; after which he studied at the St. Martin's
Lane Academy. He joined the Incorporated
Society of Artists, and in 1775 settled in Edin-
burgh, and was made chief painter to the Prince
of Wales for Scotland. But before long he
married a wealthy lady in London, and removed
to Soho, where he lived till her death, when he
returned to Edinburgh, and died there in 1798.
Among his painted portraits were Dr. Franklin
and Lord Mansfield, both of which were afterwards
engraved in mezzotint, the former at least by
himself. He engraved several portraits, among
which are :
L. F. Eoubillac, Sculptor; after A. Caipeniiers. 1765.
Lady F. Manners, daughter of the Marquis of Granby.
1772.
J, J. Kousseau ; after Bamaay.
David Hume ; after the same.
MARTIN, Elias, a painter and engraver, was
born in Sweden in 1739. In 1769 he came to
England, and became an associate of the Royal
Academy. He painted portraits, landscapes, and
genre pieces in oil and water-colour. One of his
best performances is a view of Westminster
Bridge, with the arrival of the King of Denmark.
Several of his portraits have been engraved in
aquatint. As an engraver we have by him six
plates, called 'A Daughter's Education from
Cradle to Marriage,' On his return to Stockholm
in 1750 lie became court painter, and published
with his brother, Johann Fkiedrich Martin,
a series of views of Stockholm. He died in
1818.
MARTIN, F. B., an English engraver in the
latter part of the 18th century. Amongst his
plates are :
Maria Cosway ; after R. Cosmay.
Sophia "Western ; after IIopp}ier.
MARTIN, Gdillaumf., a French painter, born at
Montpellier in 1737. He was a pupil of Cipriani,
but was more engaged in selling pictures than
in painting them. He died in Paris in 1801.
MARTIN, Johann Fribdrich, engraver, was
a brother of Elias Martin, A.R.A. He was born
at Stockholm in 1745, and died there in 1808. In
1790 he visited England. He published a series
of views of Stockholm in conjunction with his
brother Elias.
MARTIN, Jean Baptiste, called 'Martin the
elder,' was born in Paris in 1659, and was a pupil
of La Hire. He also studied fortification, and
was draughtsman to Vauban. He succeeded
Van der Meulen as director of the Gobelins, and
112
accompanied the king and the dauphin in all their
campaigns. He has been called ' Martin des
Batailles,' from the contests and victories with
which he decorated Versailles and the Invalides.
His death occurred in Paris in 1735. Of his works
we may note :
Luneville. Gallery. A series of twenty pictures from
the career of Charles V.
(painted for the Duke of
Lorraine).
Paris. Louvre. Siege of Fribourg.
"Versailles. Forty-five battles {hy or after
him).
MARTIN, John, an English landscape and his-
torical painter, born at Haydon, near Hexham, in
1789. He originally worked at heraldic coach-
painting, and at the decoration of china. He came
to London in 1806, and diligently occupied his
spare time in studying for the higher branches of
art. Marrying at the early age of 19, he was com-
pelled to exert himself strenuously, and in 1812
he produced his first picture, ' Sadak in search of
the Waters of Oblivion.' Owing to tlie manner in
which one of his pictures was hung at the Academy
in 1814, he commenced a life-long but not very
bitter struggle with that body. He did not discon-
tinue to send his pictures to its yearly show.
In 1817 and 1821 his contributions obtained prizes
at the British Institution, and his art became widely
popular. He was instrumental in the foundation
of the Society of British Artists, where his works
appeared for some years. He did not confine
himself to the oil medium ; he painted many
sketches in water-colours, and he furnished illus-
trations for editions of the Bible and of 'Paradise
Lost.' Many of his own pictures were engraved
by himself. He died at Douglas, in the Isle of
Man (whither he had gone for the benefit of his
health after a paralytic stroke), in 1854. Among
his chief works are :
Joshua Commanding the Sun to stand still. 1816.
The Fall of Babylon . 1819.
Belshazzar's Feast. 1821.
The destruction of Herculaneum. 1822. {Manchester
Art Gallery.)
The Fall of Nineveh. 1828.
The Deluge. 1837.
The Last Man. 1839.
The Seventh Plague.
Destruction of Sodom and Gomorrah. 1852.
The Last Judgment.
The Great Day of Wrath.
The Plains of Heaven.
Mountain Landscape. {South Kensington Museum!)
MARTIN, Leon, a French still-life and historical
painter, bom in Paris in 1837, and died in 1861.
MARTIN, Pierre Denis, ' the younger,' who
painted during the early part of the 18th century,
is said to have been a cousin of Jean Baptiste
Martin. He was also a pupil of Van der Meulen.
He painted a number of views of royal residences,
which are now at Versailles. One is signed, ' P.
D. Martin, peintre ordinaire et pensionnaire du Roi,
1722 ' ; on another is added ' pensionnaire de sa
Majesty Czarienne.' Like his cousin, he was em-
ployed at the Gobelins. He painted a few hunting
and battle pieces. The Louvre possesses a ' Louis
XV. hunting,' by him.
MARTIN, Pierre Edmond, painter, was born at
La Rochelle in 1783. He was instructed in Paris
by Vincent, but afterwards went to Italy. On his
return he painted portraits, but was principally
engaged in the restoration of pictures.
Uartin.
PAINTERS AND ENGEAVEES.
MAETIN, William, an English historical painter,
who practised in the end of the 18th and the
19th centuries. He was a pupil of Cipriani, and
in 1766 obtained a gold palette from the Society
of Arts. His works were exhibited at the Academj'
from 1775 to 1816. He was patronized by George
III., to whom he was appointed history painter,
and for whom he executed some decorative works
at Windsor Castle. There are at St. Andrew's
Hall, Norwich, by him :
Edward and Eleanor.
Execution of Lady Jane Grey.
MAETINEAU, Robert Braithwaite, painter,
was born in London in 1826. At first intended
for a lawyer, he forsook that profession for art
and became a student at the Royal Academy.
Afterwards he was for a time a pupil of Mr. Holman
Hunt. He began to exhibit in 1852, and in 1862
attracted great attention by a picture called ' The
Last Day in the Old Home.' His later works were
inferiorto this. He died somewhat suddenly in 1 869.
MAETINBLLI, Giovanni, painter, flourished at
Florence about the middle of the 17th century.
In the Florentine Gallery there is a fine picture by
him of the ' Feast of Belshazzar ' ; and in Santa
Lucia de' Bardi, the ' Guardian Angel ' ; but his
best work is a ' Miracle of St. Anthony,' at Pescia.
MAETINELLI, GinLio and Luca, painters,
were brothers, and pupils of J. Bassano. Giulio
painted twenty-eight scenes from Genesis in the
church at Bnego.
MAETINELLI, Giuseppe, an obscure landscape
painter, was born at Bologna about 1740, and died
there about 1795.
MAETINELLO DI BASSANO, an obscure By-
zantine, who worked at Venice in the 13th century.
MARTINET, Achille-Louis, a French engraver,
was born at Paris in 1806, and instructed by Heim
and Forster. In 1830 he received the ' prix de
Rome.' He died in Paris in 1877. Among his
best plates may be mentioned :
The Last Honours paid to Counts Egmont and Horn ;
after Gallait.
The Sleep of Christ ; after Raphael.
Tintoretto's Daughter ; after L. Gogniet.
The Birth of the Virgin ; after Murillo.
The Madonna with the Pink ; after Raphael.
The Madonna with the Lily ; after Beltraffio (?), in the
Pal. AJ,bani.
MAETINET, Angelica, a French engraver, was
born in 1731. She was a niece of N. Dupuis.
Her brother, Franz Nicolatis, also an engraver,
produced some small vignettes of animals, land-
scapes, &c. Angelica died about 1780. Among
her plates are :
Old Age ; after Vemet,
The After Dinner Walk ; after Vernet.
The Little Musician ; after Schenau.
MAETINET, E., a French painter of little note,
who lived early in the present century. He was a
pupil of Fontaine.
MAETINEZ, Ambrosio, was born at Granada
about the year 1630, and was brought up in the
school of Alonso Cano. With the help of that
artist, he became a reputable historical painter.
His principal works are in the churches of the
monasteries of S. Jerome, and of the Carmelites, in
his native city. He died at Granada in 1674.
MAETINEZ, Ckisostomo, of Valencia, a painter
and engraver of considerable merit, flourished about
1680. He engraved portraits, and also twenty
plates for a work on anatomy. He painted several
devotional works for the church of S. Philip Nen.
VOL. 11. I
Martinez
Pictures in the church of S. Michael and in the
Carmelites are ascribed to him. He died in
1694.
MARTINEZ, Domingo, was born at Seville near
the close of the 17th century, and after having
learned painting with an obscure artist named Juan
Antonio, became one of the most popular artists in
Seville. The Frenchman Ranc sought his friend-
ship, and he died rich and honoured in 1750.
According to Cean Bermudez his best paintings
iire those in a chapel in Seville Cathedral. His
fame was hardly deserved.
MARTINEZ, Fray Antonio, a son of Jose
Martinez, and painter to Philip IV. of Spain, was
born at Saragossa in 1638. He studied first with
his father, and afterwards at Rome. On his return
to Spaia he helped his father in many of his works,
and entering the convent of Scala Uei in 1690 he
there painted some creditable pictures from the
life of St. Bruno.
MARTINEZ, Gregorio, a painter of repute in
Valladolid, was employed in 1594 by the chapter
of Burgos to gild the high altar of their cathedral.
Cean Bermudez mentions having seen a small
picture on copper, signed with this master's name.
The subject was a Virgin with Saints.
MARTINEZ, Josi, a painter and engraver,
was born at Saragossa in 1612, and went young
to Italy, where he studied some years at Rome.
On his return to Spain he was employed in
several considerable works for the churches and
convents at Saragossa, and mnde court painter by
Philip IV. in 1642. His chief productions are in
the cathedral of that city, and in the convent De la
Manteria. Palomino mentions a series of pictures
of the life of our Saviour in the cloister of San
Geronimo. He has also left an engraving of the
portrait of Mathias Piedra, and a work on art and
artists entitled ' Dircursos practicables del nobilis-
simo arte de la Pintura.' He died at Saragossa in
1682.
MARTINEZ, Jos^, flourished at Valladolid
towards the close of the 16th century. He painted
so exactly in the style of the early Florentine
masters, that it is conjectured he studied in their
city. For the chapel of the Annunciation in the
Augustine convent he painted various pictui-es
from the life of the Virgin, also fresco decorations,
and the designs for the tiles on the walls. This
chapel was finished in 1598, and destroyed by the
French in 1811. A picture then rescued is now in
the Museum at Madrid ; in this the drawing is good,
the colouring rich, and the draperies finely cast.
He painted a few pieces for the Bernardine
nuns.
MARTINEZ, Josef Ltjxan. See Ldxan.
MARTINEZ, Juan Bautista del Mazo. See
Del Mazo Martinez.
MARTINEZ, Sebastian, a Spanish artist, was
born at Jaen in 1602. He was a reputable painter
of history, and, according fo Palomino, resided
during the early part of his life at Cordova, where
he painted several pictures for the churches, par-
ticularly three altar-pieces for the Convent of
Corpus Christi, representing the Immaculate Con-
ception, Saint Francis of Assisi, and the Nativity.
On the death of Velazquez, he visited Madrid, and
was appointed painter to Philip IV. He died in
the capital in 1667. He was an excellent landscape
painter, and also produced many cabinet pictures,
which are to be found in private collections at
Jaen, Cordova, Seville, Cadiz, and Madrid.
113
Slartinez
A BIOGRAPHICAL DICTIONARY OF
martini
MARTINEZ, ToMMASO, a Spanish historical
painter, born at Seville. He was a pupil of G-ut-
tierez, an imitator of Murillo. He died in 1734.
MARTINEZ DE GRADILLA, Joan, was a painter
of Seville, and an office-bearer in the Academy there
for some years. He was a pupil of Zurbaran, and
painted a fresco in the Convent of Mercy, which
in the time of C. Bermudez was his only surviving
■work. It has been completely ruined by frequent
restorations. He died probably in 1673.
MARTINEZ DEL BARRANCO, Beenabdo, was
born in 1738, at La Cuesta, in La Rioja. After
preliminary study at Madrid, he went to Italj',
visiting Turin, Rome, and Naples, and studying tlie
old masters, especially Correggio. Returning to
Madrid he was elected into the Academy of St.
Ferdinand in 1774. He painted a portrait of
Charles III., and designed some of the illustra-
tions for the fine edition of ' Don Quixote,' Madrid,
1780. He died in 1791.
MARTINEZ DE LOS CORRALES, Jhan, a minia-
turist of Toledo, began in 1583 to illuminate a mass
booli for the cathedral of his native town, and in
seven years had finished two volumes, which are
characterized by fine colour and tasteful arabesques.
MARTINI, Bernardino, who is better known as
Zknale, was born at Treviglio in 1436, and was a
disciple of Foppa. In early years he worked in
common with Bernardino Jacobi, of Treviglio, who
was surnamed Buttinone, and orders were given
to the two painters conjointly. Zenale was the
friend of Leonardo da Vinci, and was probably
working at Santa Maria delle Grazie while the great
Florentine was painting his ' Last Supper.' Vasari
tells a story how that Da Vinci, despairing of being
able to produce a face which should express his
ideal of the Saviour, went to Zenale for advice and
sympathy. When Zenale had seen and fully ad-
mired his friend's labours, he told him tliat what he
had already produced was so fine that it was useless
to think of surpassing it; "for to fancy that the
Christ could be conceived in nobler lineaments was
to covet attributes little short of divine." Zenale
was a master of theory, and in 1524 wrote a treatise
on perspective. The majority of his frescoes have
now disappeared, and we can point to only one
fully authenticated work by his hands. This is an
altar-piece in the parish church of Treviglio, on
which he worked jointly with Buttinone, a fact
which makes it difficult to use the picture as a
standard to test other works ascribed to Zenale.
From 1501, when he furnished a design for an
intended decoration at Santa Maria sopra San Celso,
until his death in 1526, he seems chiefly to have
devoted his time to architectural pursuits. Pictures
ascribed to him with more or less probability are
to be found in the galleries of Bergamo, Berlin,
Hanover, Milan, and St. Petersburg.
MAKTINI, Giovanni, (or Giovanni da Udinb,)
and Girolamo, were Friulans, sons of Martino, and
nephews of Domenioo da Tolmezzo. In 1601
Giovanni competed with Pellegrino da San Daniele
in the decoration of two chapels in the cathedral
of Udine, and acknowledged his inferiority by
signing an altar-piece representing the Glory of
St. Mark, " 1501, Johanes Utinensis hoc parvo in-
genio fecit." The cathedral of Spilimberg has a
' Presentation in the Temple ' by Giovanni. In 1503
he began to make carved and coloured altar-pieces ;
his best work in this branch of art is the altar of
the church of Mortigliano, finished in 1527. Most of
liis works are still in the province of FriuH.
114
MARTINI, SiMONE — called by Vasari Simone
Memmi — a Sienese, was born in 1283. He mar-
ried, in 1324, Giovanna, the daughter of the artist
Memmo di Filipuocio. He was a contemporary
of Giotto. One of his earliest frescoes is that in
the Hall of the Palazzo Pubblico at Siena, repre-
senting an enthroned ' Virgin and Child,' with
numerous figures of ' Saints and Angels,' enclosed
in a border decorated with shields of arms and
medallions. The date of this design is about 1316,
and existing records prove that in 1321, Simone
received twenty-six livres for the renewal of certain
portions that had been injured by damp. In 1320
Simone executed an altar-piece for the Church of
Santa Catarina, Pisa. This has since been dis-
membered, and parts of it may be seen in the
Library of the Serainario Vescovile, and the re-
mainder in the Academy of Pisa. At about the
same date he painted an altar-piece of the ' Virgin
and Child with Saints and a kneeling donor,' for
the high-altar of San Domenico, Orvieto, which is
now in the cathedral. There it has for companion
an altar-piece with the 'Virgin and Child and
Angels.' In 1321, Simone seems to have been at
Assisi, and amongst other works executed there
by him, he decorated the chapel of San Martino in
the cathedral by order of Cardinal Gentile. These
frescoes fill the entire chapel, and illustrate different
episodes in the Life of S. Martin. They contain
figures of the Cardinal, and of numerous Saints
and Angels. Simone also commenced a series of
eight half-length Saints in the Lower Church of
Assisi, but these are said to have been finished by
Lippo Memmi. Up to 1335, Simone seems to
have principally resided in Siena, where he
executed many frescoes and paintings which
cannot now be traced. In 1339, Simone went to
Avignon with his wife and his brother Donate, and
there made the acquaintance of Petrarch and of
Laura, whose portrait he painted. WhUst in Avig-
non, Simone decorated two chapels in the Papal
Palace, and some other rooms, and in 1349 painted
some frescoes in the portico of the cathedral.
These consisted of a St. George and the Dragon,
with a female figure supposed to be Laura, which
has now faded away ; and a Virgin and Child,
enthroned with angels and donor, and also a
' Saviour in Benediction.' Both of these latter are
still visible. Among his works we may name :
Antwerp. Gallery. Triptych, AnnunciatioD.
„ „ Crucifixion and Deposition.
Avignon. Cathedral. Fresco of Virgin and Christ.
Florence. Uffizi. The Annunciation.
Liverpool. Institution. Eetum of Christ from the
Temple.
(This picture is dated 1342, so
must luive been painted
dwinff Simone^s stay at
Avignon )
Milan. Amtrosiana. Miniatures of Petrarch's
Virgil.
Munich. Institution. Coronation of Virgin and
Saints.
Naples. Ch. of S. Lorenzo St. Louis of Toulouse Crown-
Maggiore. ing his brother.
Orvieto. Cathedral. Virgin and Saints.
Piiris. Louvre. Christ going to Calvary.
Pisa. Acad.my. Virgin and Saints.
Siena. FuUic Falace. Virgin and Saints. Fresco.
„ „ Equestrian Portrait of Fog-
liano de Bicci.
MARTINI, Pietbo. See Mebcia.
MARTINI, PiRTRO Antonio, an Italian engraver,
was born at Parma in 1739. He visited Paris when
young, where he produced some plates after TenieiB
MattiniSre
PAINTEKS AND ENGRAVERS.
Marvy
and other Flemish artists ; these were finished by
Le Bas. Martini worked for a time in London.
MARTINIBRE, La. See Mayer.
MARTINO, Makco San. See San Martino.
MARTINO Dl BARTOLOMMEO. See Biagio.
MARTINO Di BATTISTA, also called Martino
da Udine, and Pellegbino da San Daniele,
was the son of a Dalmatian named Battista da San
Daniele, who sometimes lived at Udine. In 1491
he was partner with Ser Giovanni Antonio of San
Daniele as goldsmith, but left that place and went
to Venice, where he was commonly called Pelle-
grino, most likely in allusion to his foreign origin.
In 1494 he received the commission for the altar-
piece now in the church of Oeopo, which repre-
sents an enthroned ' Virgin and Child between SS.
Columba and Peter, with Angels and Saints.' In
1495-96 he painted altar-pieces for the cathedral
of Udine, and for the church of Santa Maria di
Piazza. He then determined to go to Rome, and
according to the custom of his time, made his will
before starting. His friends, hearing of this, deter-
mined to prevent his departure by offering him
some important work, and through their influence
the brotherhood of Sant' Antonio gave Pellegrino
a commission to decorate their churoh at San
Daniele. This undertaking, which was commenced
about 1498, sufEered many interruptions through
foreign wars and internal feuds, but was finally
completed in 1522. These frescoes, which cover
the entire sanctuary and chancel end of the church,
consist of various scenes drawn from the lives of
Christ, St. Anthony, St. Sebastian, St. George, and
other Saints, as well as innumerable figures of
Prophets, Doctors, Saints, and Martyrs ; also scenes
from Old Testament History. They vary in style,
and betray the successive influences exercised over
Pellegrino by artists with whom he was brought
into contact during his travels in North Italy. In
1501, in friendly competition with Giovanni Mar-
tini, he painted the altar-piece of the ' Glory of
St. Joseph,' for the cathedral of Udine, and as a
reward was elected a member of the city council
for the years 1501 and 1503. In 1506 he retired
to San Daniele, and painted a fresco known as
' La Vergine di Strada,' in the church of the Ma-
donna. Between 1608 and 1512 he visited both
Venice and Perrara. In 1512 he returned to Udine
and designed the Allegories of Religion, Justice,
Victory, and Fame, for the monument of Andrea
Trevisano in the Palazzo Publico, and recommenced
his labours at Sant' Antonio. In 1621 he painted
the organ-doors of the cathedral, which were valued
by Giovanni Martini and Sebastiano Florigerio.
These though much injured are still preserved in
the Town-hall of Udine. He is also known to
have painted several banners, none of which are
now extant. In the close of 1529, he produced
the ' Madonna and Child with six saints between
SS. Michael and Sebastian,' now in Santa Maria,
Cividale, after which he devoted most of his time
and energies to dealing in timber. He died in
1547, more than eighty years old. Besides the
works we have mentioned, we may name an
'Annunciation,' in the Venice Academy, and a
'Madonna and Saints,' in the Palazzo Giovanelli,
as among his best productions. W.A.
S. Crowe and Cavalcaselle, ' Painting in N.
Italy,' vol. ii. p. 189 ; and Morelli, ' Italian Masters
in German Galleries,' p. 18.
MARTINO DI CANDIDO. See under Tolmezzo.
MARTINOFF, Iwan, painter, was born at St.
I 2
Petersburg in 1765, and was a student in the
Academy there. He painted landscapes and
scenes for the theatre. He also painted thirty-
six views of St. Petersburg.
MARTINOTTI, Evangelista, was born at Castel
Monferrato m 1634. He was a scholar of Salvator
Rosa, and, according to Orlandi, excelled in paint-
ing landscapes, with figures and animals. Lanzi
mentions him as a painter of history, and com-
mends his picture of the ' Baptism of Christ by St.
John,' in the cathedral of Casale. He died in
1694. He had a brother, Francesco Mar'iinotti,
who was also a disciple of Salvator Rosa, and
painted history. He died in 1694.
MARTIS, Ottav. de. See Nelli.
MARTIS, Ottaviano, born at Gubbio, flourished
from 1400 to 1444. In the church of St. Maria
Nuova is a fresco of the ' Virgin and Child ' by this
artist, dated 1403.
MARTIUS. This is the name of a large family
of artists who resided at Ghent. Baddouin was
the eldest son of Jan Martins, entered the Corpora-
tion in 1482, was master painter in 1434, and Dean
in 1475. Gerard, master painter in 1398. Gho-
LOET, master painter in 1398. Gilles, master
painter in 1396. Jan, a painter at Ghent, who, in
conjunction with Van Axpoele, executed frescoes
for the Counts of Flanders. He also worked at
Toumai. Laurent, father and son, flourished in
1364 and 1380 respectively. Nabur, Nabob, or
Nabuchodnosor, was born at Ghent in 1404. He
was the son and pupil of Jan Martius. He worked
for the city and churches of Ghent and Oudenarde.
He died in 1453. Regnier, son of Baudouin,
flourished from 1447 to 1472.
MARTORELLI, Gaetano, was born at Naples
in 1670, and was a pupil of Giacomo del Po or N.
Massaro. His first attempts were in historical
subjects, but not succeeding to his wishes, he
abandoned that branch of the art, and applied
himself to landscape painting in the style of
Salvator. He died in 1723.
MARTSS, Jan, 'de jonge,' (or Marssen,) in-
correctly known as J. M. de Jonoe (or Jong), was
a Dutch etcher and probably painter, who flourished
about 1630. We have by him a set of etchings of
battles, which are executed with great spirit, and
supposed to be from his own designs. His manner
is somewhat peculiar ; it is built up of bent strokes
with very little hatching. He marked his prints
J. M. B. Jonge fecit, and J. M. D. J. fe.
MARUCELLI, Giovanni Stefano, (or Maru-
SELLi,) was born at Pisa in 1686. He was a
scholar of Andrea Boscoli, and distinguished him-
self as a painter of history, although he was more
celebrated as an architect and engineer. His
principal residence was at Pisa, where he painted,
in the tribune of the cathedral, ' Abraham and the
Angels,' and ' The Martyrdom of St. Bartholomew.'
He died in 1646.
MARULLO, GiDSEPPE, a native of Ceta in the
kingdom of Naples, studied under Massimo Stan-
zioni, but copied the style of his master's rival,
Spagnoletto. He died in 1685. His son Angelo,
also a painter, died early.
MARVIE, Martin, painter and engraver, was
bom in Paris in 1712. We have several prints by
him, and among others 'The Siege of Bergen op
Zoom ' after Bronard, plates in Blondel's ' French
Architecture,' and others.
MARVY, Louis, a French engraver, born at
Versailles in 1815. He was a pupil of Jules
115
Mary de' Medici
A BIOGRAPHICAL DICTIONAEY OF
Mason
Duprd, and engraved several pictures after Rem-
brandt, Corot, C. Flers, Decamps, Diaz, &o. He
died in 1850.
MARY DE' MEDICI, wife of Henry IV. of
France, born in Florence in 1573, died at Cologne
in 1642. At the age of eleven years she engraved
a portrait of herself on wood, and signed it Maria
Medici F. MDLXXXII. Another plate is ascribed
to her, the portrait of a girl, signed L. 0. 1587.
MAEZIALB, Marco, wag living in the early part
of the 16th century. Of his life very little is known,
except that he was employed by Giovanni Bellini
as journeyman, at a salary of twenty-four ducats
per annum, in the Hall of Great Council at Venice,
in 1492. In the Conservatorio de' Penitenti at
San Giobbe, Venice, is a ' Circumcision ' painted
by him in that same year ; and in the Academy of
the same city is a ' Christ and the Apostles at
Euimaus,' dated 1506. In the Gallery of Berlin is
a, similar subject, painted in 1607, which shows a
strong leaning towards the German feeling. His
two beat works, however, are in the National
Gallery. These are, 'The Circumcision,' signed and
dated 1500, and 'The Madonna and Child, with
Saints,' 1507. In the Locchis Carrara Gallery at
Bergamo there is also a ' Virgin and Child,' with
profile portrait of donor, dated 1504. The dates
on his pictures range from 1499 to 1507. His
works are fairly numerous, but many of them are
ascribed to Bellini and other members of his school.
MARZIO DB COLANTONIO, flourished at Rome
in the 16th century. He painted landscapes and
battle-pieces. He was for a time at Turin, in
the service of the Prince of Savoy.
MARZO, Andeea and Urban, were two brothers
of Valencia, and painters of some credit, born
about 1620. Andrea executed two pictures of St.
Anthony of Padua for the parish churches of
Santa Cruz and Santa Catalina ; he also designed
the title-page for a book, describing a grand
festival in the city, published in 1663 by Don
Juan Bautista de Valda. Urban painted a picture
of 'Christ bearing the Cross,' said to possess some
merit. It is in a private collection at Valencia.
MAEZY, JoHANN Heineich, an engraver, was
born at Iglau in Moravia in 1722. He became a
teacher in the Normal School, and afterwards
devoted himself to engraving. He died in 1801.
MASACCIO. See Guidi, Tommaso.
MASCAGNI, DoNATO, (or Mascagio,) called
Fra Aksenio, was born at Florence in 1679, and
was one of the ablest scholars of Jacopo Ligozzi.
Soon after leaving the school of that master, he
became a Servite monk, and took the name of Fra
Arsenio, by which he is generally known. He
painted several altar-pieces for the churches at
Florence, particularly for that of his monastery.
His principal performance is a large picture at
Vallombrosa, which Lanzi mentions in very favour-
able terms. He also worked in Spain early in
the 17th century, chiefly in the convents of Valla-
dolid. He died in 1636.
MASCALL, Edwaed, an English portrait painter,
flourished about the year 1660. He painted a
portrait of Oliver Cromwell, which was once in the
possession of the Duke of Chandos. We have a
print, by James Gammon, from a portrait of Mascall
by himself.
MASCHERINI, Ottaviano, a painter and archi-
tect, was born at Bologna in 1530. He was a pupil
of the Carracci, but he abandoned painting for
architecture. He died about 1610.
116
MASIJS. See Massys.
MASOLINO da PANICALE. See Fm.
MASON, Abraham John, wood engraver, was
born in London in 1794. He was apprenticed to
Robert Branston, and in 1821 he set up on his
own account. In 1829 he went to New York,
where he was elected Associate of the Academy
and Professor of Engraving. He engraved Cruik-
shank's illustrations to 'Tales of Humour and
Gallantry. '
MASON, George Hemming, was bom at Wetley
Abbey in Worcestershire in 1818. His parents
were well-to-do people, and by his father's wish
he studied for the medical profession, but aban-
doned it in 1844 for art. In company with a
brother he travelled through France, Germany,
Switzerland, and Italy, residing at Rome for several
j'ears. While Mason was in Rome he received
news of financial losses at home, which for a time
threw himself and his brother entirely on their own
resources. Better times came, however, and in
1865 he was enabled both to contribute to and to
visit the Paris Exhibition. He coirtributed to the
Academy from 1857, in which year he returned
to England and married, till 1872. All the subjects
now chosen by him were taken from the neigh-
bourhood of his home at Wetley. In 1865 he
settled in London, in Shaftesbury Road, Hammer-
smith, where he remained faithful to the same
rural themes. In 1868 he was elected A.R.A., and
moved to a larger house and studio, where he
worked for three years, and where he died in 1872.
His two best works, perhaps, are, ' Girls dancing by
the Sea,' etched in 1886 by Mr. R. W. Macbeth as
' A Pastoral Symphony,' and ' The Harvest Moon,'
also etched by the same artist. The former is in
the collection of Lord Wantage. Besides those he
also painted :
Wind on the Wold.
Mist on the Moor.
Catch !
Crossing the Heath.
Return from Ploughing,
The Cast Shoe.
Geese.
The Gander.
Young Anglers.
Unwilling Playmates.
Evening, Matlock.
The Evening Hymn.
Only a Shower.
A Derbyshire Landscape.
Blackberry Gatherers.
The Milkmaid.
MASON, Jambs, an English landscape engraver,
was born in 1710, and died about 1780. He be-
longed to the Incorporated Society of Artists, and
was very eminent in his line, his works being held
in great esteem by foreign amateurs. His principal
pieces are after Claude, G. Poussin, Swaneveldt,
Hobbema, Wilson, Lambert, Scott, and Zuccarelli.
' The Landing of Mn^as in Italy,' after Claude, is
one of his finest landscapes ; and he is no less
admirable in the print, after Andrea Sacchi, of
' Venus at the Bath, surrounded by Cupids.' He
sometimes engraved in conjunction with Canot,
Vivares, and other masters of the period, who,
like himself, were employed by the enterprising
Boydell.
MASON, William, an English animal painter
in the latter part of the 18th century. His works
were engraved by J. Jenkins, R. Pollard, and Val.
Green.
UascLuelier
PAINTERS AN ENGRAVERS.
IffassS
MASQUELIER, Louis Joseph, a French en-
graver, was born at Cisoing, near Lille, in 1741.
He was a pupil of J. P. le Bas at Paris, where he
engraved several plates which possess considerable
merit, particularly his landscapes. He died in
1811. He engraved several of the plates for 'Le
Voyage d'ltalie,' by St. Non ; also several of the
French battles and victories, and other subjects
after Monnet and Vernet ; some of the plates for
the voyage of La Peyrouse, and numerous designs
illustrative of the ' Metamorphoses ' of Ovid, the
Fables and the Kisses of Dorat, and, in con-
junction with M. Nde, the work entitled ' Tableaux
de la Suisse,' consisting of 216 plates in folio. He
was also director of the publication of ' La Galerie
de Florence,' for which he engraved several of
the pictures, statues, cameos, and bas-reliefs, and
for which he obtained the gold medal in 1802.
Numerous other works were produced by him,
wliich are well known to amateurs of engraving.
Among others, we may name the following :
The Arrival of Voltaire in the Blysian Fields; after
Ls Barhier.
An old Han kneeling near a Skull, called Diogenes ;
after G. Don.
A view in Flanders; after Teniers; etched by Masque-
lier and finished by Le £as.
A Landscape, with Cattle ; after P. Potter.
A pair of Landscapes; after BuisdaeC; by Masquelier
and Le Bas.
A View in Italy ; after Vernet.
A Shipwreck ; after the same.
Two Views of Osfcend ; after Le May.
A Landscape, with a Waterfall ; after Dietrich.
He was the instructor of his son, Claude Louis
Masquelieb, born in Paris in 1781, who engraved
in 1848 ' The Entombment of Christ,' after Raphael.
He obtained several gold medals and prizes, and
was professor at the Academy of Rome.
MASQUELIER, Nicolas Fbanqois Joseph,
called 'the yoimger,' was a relation and scholar
of Louis Joseph Massard. He was born at Lille
in 1760, and died in 1809. He received lessons
also from L. J.,Watteau and Gu#ret. He engraved
a ' Corps-de-garde,' after Leduc ; ' C»sar at the
Tomb of Alexander,' after S. Bourdon ; ' Extreme
Unction,' after Jouvenet ; ' Christ at the Column,'
after Vouet, all for the Musde Robillard : and several
other pieces for the same collection. He also
assisted in engraving the cameos and bas-reliefs
for the ' Galerie de Florence.'
MASQUERIER, John James, a portrait painter,
born of French parentage at Chelsea in 1778. He
w;ent back to France with his parents in 1789, and
received some instruction from Vernet. Returning
to England in 1792, he became a student in the
schools of the Academy, where his first exhibited
work appeared in 1796. In 1800 he made a second
visit to Paris, where he was enabled to take a
portrait of Napoleon. This on being exhibited in
England, where it was the first authentic portrait
of the emperor, proved a source of considerable
gain to the painter. After a successful career as
a portrait painter — he painted 400 portraits in
twenty-eight years — he was enabled to retire in
1823 with a competence to Brighton. Here he
died in 1855.
MASRELIEZ, Louis, a painter, was bom in
Paris in 1747. In 1752 he was taken to Sweden,
but returned to Paris to study art, proceeding later
to Italy. On his return to Stockholm he was made
Director of the Swedish Academy. He painted
portraits, landscapes, and historical subjects. He
died at Stockholm in 1810.
MASSA, Giovanni, was », native of Carpi. He
was a pupil of Griffoni, and, in conjunction with
Giovanni Pozzuoli, worked at architectural views
and designing. He died in 1741.
MASSARD, Jean, a French engraver, was born
at Bell^me in 1740. He was instructed in the
rudiments of his art by Martinet, but owed more
to private study. In 1814 he received the title of
Engraver to the King. He was a member of the
Academy, and died in 1822. His best plates are :
Adam and Eve ; after Cignani.
La Mere bien aimee ; after Greuze.
La plus belle des meres ; after the same.
Abraham and Hagar; after Girardon.
The Family of Charles I. ; after Van Dyck.
Erigone ; after Mieris.
The Death of Socrates ; after David.
MASSARD, Jean Baptiste Louis, an engraver,
was born in 1774. He was the eldest son of Jean
Massard. Among his works were ' The Magdalene,'
after Seghers, and the portrait of Francis I., after
Titian. He died about 1810.
MASSARD, Jean Baptiste Raphael Uebain,
son and scholar of Jean Massard, was born in Paris
in 1775. He studied design in the school of David.
He engraved many of the plates for the beautiful
editions of Virgil and Racine, published by Didot,
also for ' Le Musee Robillard,' and other collec-
tions. The ' St. Cecilia,' after Raphael ; ' Apollo
and the Muses,' after Giulio Romano ; ' Hippocrates
refusing the Presents of Artaxerxes,' after Girodet,
and the ' Burial of Atala,' after the same, are among
his most esteemed works.
MASSARI, Luoio, painter, was born at Bologna
in 1569, and was some time a scholar of Barto-
lomraeo Passerotti; but he afterwards studied in
the school of the Carracci, and then at Rome
from the antique and the works of the great
masters. His style resembles that of Annibale,
rather than Lodovioo ; and in some of his works
he approaches so near to his manner, that they
may easily be mistaken for those of that master.
He died in 1633. Among his works we may
name:
Bologna. Life of St. Benedict (four pic-
tures).
„ Marriage of St. Catherine.
„ Christ appearing to the Magdalen.
„ St. Gaetano.
Florence. Uffizi. Holy Family.
MASSARO, Niccolo, was a Neapolitan, and a
scholar of Salvator Rosa. He painted landscapes,
which resemble those of his instructor more in
forms and scenery than in colour, which is weak.
As he was not successful in figures, he was assisted
in his pictures by other artists, particularly by the
little known Antonio di Simone. ■ Massaro's sofis,
Gieolamo and Gennaro, were also painters.
MASSAROTTI, Anqelo, was born at Cremona
in 1655, and for some time studied under Agostino
Bonisoli, in his native city. He afterwards visited
Rome, where he became a scholar of Carlo Cesi.
His principal work is a large picture in the church
of Sant' Agostino representing that saint dis-
tributing his regulations to his difEerent orders.
He died in 1723.
MASSE, Charles, (or MAci,) a French designer
and engraver, was born in Paris about the year
1631. He was employed by M. Jabach to make
designs from his celebrated collection of drawings,
and to etch them. The set consists of 280 prints,
among which we may specify :
117
IitassS
A BIOGRAPHICAL DICTIONARY OF
Hasson
Sixty-seven after Annib. Carracci.
Fourteen after Titian.
Twelve after Oastiglione.
Four after Campagnola,
Several after Correggio, Guercino, Nic. Poussin, Par-
migiano, and others.
MASS]^, Jean Baptiste, a French painter and
engraver, was born in Paris in 1687. In the early
part of his life he applied himself to the sciences,
but afterwards took to engraving, and shortly to
painting in enamel. By the common device of re-
E resenting ladies as more beautiful than they were
e soon succeeded in making himself the fashion.
•It was as an engraver, however, that he obtained
in 1717 a reception into the Academy at Paris.
He undertook the direction of the engravings from
the pictures by Le Brun, in the Gallery of Versailles.
The work consi-ita of fifty-two plates, entitled ' La
grande galerie de Versailles et les deux salons qui
I'accompagnent, dessinee par J. B. Mass^ ef grav6e
par les meilleurs maitres du tems,' Paris, 1762. In
1749 he became a Councillor of State, and in 1760
inspector of the Gallery at Versailles. He died in
Paris in 1767.
MASSE, Samuel, a miniature painter, was bom
at Tours in 1671. He settled in Paris, where he
died in 1753. Another painter of the same name
flourished at Tours at the same time.
MASSEI, GiROLAMO, was a native of Lucca, and,
according to Baglione, flourished at Rome in the
pontificate of Paul V., where he painted several
pictures for churches and other public buildings.
In San Luigi de' Frances! is an attar-piece by him,
representing the ' Martyrdom of St. Sebastian'; and
in the Trinita de' Monti there are several pictures
in fresco of the Life and Miracles of St. Francis of
Paula, Agostino Taja, in his ' Descrizione del
Vatioano,' says he was one of the artists selected
by Fra Ignazio Danti, superintendent of the works,
to ornament the Loggie of the Vatican, where he
was employed several years. He returned to Lucca
towards the latter part of his life, and died there
at the age of eighty.
MASSI, Caspar, painter and engraver, worked at
Rome at the end of the 18th century. Among his
works are plates from :
Cardinal Fleury ; after Eigaud.
Pope Clement XII.
St. John of Nepomuc ; after Foli.
St. Nicolas ; after Calandrucci.
MASSI, G., is mentioned by Strutt as the en-
graver of a portrait of Cardinal Alaman Salviati,
after P. Nelli, dated 1730.
MASSI, Gentile, called Gentile di Niccol6 (di
Giovanni) da Fabhiano, was probably born at
Fabriano between 1360 and 1370. He learned his
art" under Allegretto Nuzzi ; his death took place
between 1440 and 1460, and he wag buried in San
Francesco Romana, in the Campo Vaccino. He is
known to have paid a visit to Venice, where he
spent some years in decorating the ducal palace,
and also painted an altar-piece for the church of
S. Felice, representing St. Paul and St. Anthony.
From thence in 1422 he went to Florence, and in
1426 he was sent for to Rome by Pope Martin V.,
to paint in San Giovanni Laterano, and he painted
a ' Holy Family ' for the church of S. Maria
Maggiore. At Florence, in the church of S.
Niccolo, is a subject by him from the life of that
saint; and in the sacristy of la Trinity, the 'Ador-
ation of the Magi,' dated 1423. Gentile's master-
pieces have perished both at Rome and Venice ;
118
remains of his paintings can be seen at Perugia,
at Fabriano, and as under :
Berlin. Mnsenm. Virgin between SS. Catharine
and Nicholas.
Florence. S. Niccolb. SS. Maiy Magdalene, Nicholas,
John the Baptist, and George.
1425.
„ tSacrisiy. God the Father, Christ, the Vir-
gin, and several Saints.
„ Academy. The Adoration of the Kings.
1423.
Milan. Brera. Coronation of the Virgin.
„ „ Four Figures of Saints.
Orvieto. Cathedral. Madonna.
„ „ Fragment of a Fresco.
Paris. Zouvre. The Presentation in the Temple.
„ „ Virgin and Child.
Venice. Academy. Madonna and Infant.
MASSIMI, Cavalieee. See Stanzioni.
MASSIMO, Aniella di. See Beltbano.
MASSINGER, Akdeeas, an engraver, was born
at Wasserburg, Austria, in 1759. He migrated to
Vienna, where he died in 1808. Among his plates
are:
The Spanish Pointer ; after Stuhhs.
A View near Exeter ; after Holmes.
Sheep and Bams in groups ; after H. Moos.
MASSINI, C. An etching after a picture of
' Penelope at her Web,' by G. F. Grent, is signed
with this name.
MASSOLINI. See Azzolini.
MASSON, Andrew, a Scotch landscape painter,
born near Edinburgh in 1750, who also practised
as a drawing master. In the year before his death
he assisted Turner by making wave studies from
the Bell Rock Lighthouse. He died in 1826.
MASSON, Antoine, a celebrated French en-
graver, was born at Louri, near Orleans, in 1636.
He was brought up to the business of an armourer,
and first exercised the burin in graving ornaments
on steel. Early in his life he settled in Paris,
where he applied himself to drawing with great
assiduity, and acquired some celebrity in painting
and designing portraits. But he is principally
distinguished as an engraver ; and in some of his
plates, particularly his portraits, he reached an
excellence which has seldom been surpassed. He
worked entirely with the graver, which he handled
with surprising firmness and facility, and at the
saine time with the utmost delicacy. His portrait
of Brisacier, known by the name of ' The Grey-
headed Man,' is a model of lightness and precision.
That of Olivier d'Ormesson is also admirable. Of
his subjects, the celebrated print of ' Christ with
the Disciples at Emmaus,' after Titian, commonly
called ' The Table-cloth,' may be regarded as a
chef-d'oeuvre in the style to which it belongs. In
1679 he became a member of the Academy in
Paris, and died in that city in 1700. The following
is a list of Masson's works :
PORTEAITS.
Anne of Austria, Queen of France ; after P. Mignard.
Maria Theresa of Austria, Queen of France; after
TV". Mignard.
Maria Anne Victoria of Bavaria, Dauphiness.
Louis Augustus, Duke dn Maine, ad vimm, sc.
Jean Jacques de Mesmes, Conte d'Avanx. 1683.
Fran9ois de Beauvilliers, Due de St. Aignan.
Francois Eouxel de Medavi, Archbishop of Kouen . 1677.
Maria de Lorraine, Duchesse de Guise; after N.
Mignard.
The Count d'Hareourt, called the Cadet de la perle;
after N. Mignard ; extremely fine.
Nicolas de Lamoignon Conte de Courson. 1676,
Hasson
PAINTERS AND ENGRAVERS.
J^ome Eignon, Librarian to the King. 1686.
Denis 'Marin, Secretary to the King. 1672.
Louis Verjus, Conte de Crecy. 1679.
Frederick William, Elector of Brandenburg. 1683 ;
scarce.
Guido Patin, M.D. ; engraved in a singular style ; rare.
Charles Patin, his son, M.D.
Francesco Maria, Doge of Genoa. 1685.
Hardouin de Beaumont, Archbishop of Paris ; after N.
Mignard.
Emanuel Theodore, Due d'Albert ; after the same.
G-aspar Charrier, Secretary to the King; after Blanchet.
Alexander du Puy, Marquis de St. Andre ; after De
Seve.
Louis, Due de Vendome ; after P. Mignard.
G. de Brisacier, Secretary to the Queen, called ' The
Grey-headed Man ' ; ven/ fine.
Olivier le F^vre d'Ormesson,Pre6ident of the Parliament.
1668; vert/ fine.
Pierre Dupuis, Painter to the King ; after ]V. Mignard.
Antoine Masson, engraver to the King ; se ipse fecit.
The following life-size heads, though finely en-
graved, are less happy in the execution than the
preceding portraits :
Louis XIV. with a Hat; ad vivum fecit. 1687.
Louis XIV. ; a large oval ; after C. le Brun.
Louis the Dauphin, his son, with a Hat.
Philip, Duke of Orleans.
Jean Baptiste Colbert, Prime Minister. 1677.
Fransois de Harley, Archbishop of Paris. 1684.
Claude du Housset. 1681:
Henri de la Tour d'Auvergne, Vicomte de Turenne.
Nicolas Potier de Novion, President of the Parliament.
1679.
Guillaume de Lamoignon, President of the Parliament.
1675.
Charles Colbert, Marquis-de Croissi ; after H. Gascar.
SUBJECTS.
St. Jerome in Meditation ; Masson sc.
The Holy Family ; after JV. Mignard.
Christ with the Disciples at Emmaus ; after Titian.
This fine print is celebrated under the name of ' The
Table-cloth.'
The Assumption of the Virgin ; after Eubens ; fine and
scarce.
The Brazen Serpent; after the same; in two sheets;
fine.
MASSON, Madaleine, was a relation of Antoine
Masson, and was born in Paris about the year
1660. She was a pupil of Antoine, in whose fine
style she engraved several portraits, or heads,
life-size. She was living up to 1711. Among
others, we have the following by her :
Duke Philippe of Orleans.
Elizabeth Charlotte, Duchess of Orleans; Mad.
Masson sc.
Elizabeth of Orleans, Duchess of Alencon ; after P.
Mignard.
Maria Theresa of Austria, Queen of France; after
Babert.
Elizabeth Maria Josephine, Infanta of Spain.
Victor Amadeus II., Duke of Savoy.
Louis Henry de Gondrin de Montespan; after a
picture hy A. Masson.
MASSONE, Giovanni, wag born at Alessandria,
and probably laboured there, but little is known of
his life. He is best known by a triptych, executed
about the year 1490, which now hangs in the Gallery
of the Louvre. It represents the ' Birth of Christ,'
'St. Francis adored by Pope Sixtus IV.,' and ' St.
Antony of Padua, with the Cardinal Giuliano della
Rovere.'
MASSOT, FiRMiN, a painter, was born in 1766.
He settled at Geneva, after a short stay in Italy,
and painted there and at Berne several portraits
and miniatures. In later life he produced some
genre pictures. He died about 1826.
MASSYS, CoRNELis,- painter and engraver, and
the fourth (?) son of Quentin Massys, was born at
Antwerp about 1513. Some writers make him the
son of Quentin's brother, Jan Massys the elder.
He was received into the Antwerp Guild of St.
Luke in 1531. In the Dresden Gallery there is a
red chalk drawing by hini of ' Lot and his Daughters.'
The figures have much elegance and refinement,
betraying a master who had visited Italy without
leaving his own Flemish manner behind him there.
Cornells was still living in 1580. He usually signed
his works with the initials G.M-A., or C.M-E. in
amonogram, and sometimes wefind the abbreviation
Cor. Met. Works :
Berlin. Gallery. Landscape with figures. (Signed
C.M-B. 1543.)
PLATES.
Henry VIII., in a cap and feather.
Judith with the head of Holofernes.
Scenes from the lives of Samson, Tobias, and the
Baptist.
Melchizedec blessing Abraham. ■
' Holy Family ' and the ' Draught of Fishes ; ' after
A Battle piece ; after Geo. Pencz.
The Four Evangelists.
The Virtues.
MASSYS, Jan, (Metsts,) was the son of Quentin
Massys by his first wife. In 1516 he was a pupil
of Jaket Osket, and was received into the Corpor-
ation of St. Luke in 1531. He visited Italy, but
afterwards returned to his own city. His eldest son
Quentin, also a painter, died at Frankfort. His
death occurred after 1568. His two elder brothers,
Paul and Coenelis, were also painters. Paul was
living in 1649. Among the pictures of Jan are :
Antwerp.
Gallery.
The Virgin and St. Joseph at
Bethlehem.
Berlin.
Gallery.
The Healing of Tobias.
„
„
The Money-Changer.
Paris.
Louvre.
David and Bathsheba.
Petersburg.
The Money-changers {two ex-
amples). ■ (
Rotterdam.
Gallery.
Danae.
Stockholm.
Portrait of a Lady.
Vienna.
The "Wandering Musicians.
»>
Lot and his Daughters.
MASSYS, Quentin, (Matsys, Mersys, or Metsts,)
the son of a locksmith, Josse Massys, was born at
Louvain in 1466. In early life he worked under
his father, but became a painter to obtain the con-
sent of his wife's father, who belonged to that
profession, to his marriage. This is recorded by
the inscription on his tomb : " Connubialis amor
de mulcibre fecit Apellem," and he wrote on lii-i"
own portrait the words " Pictorera me fecit amor."
His wife's name was Alyt van Tuylt. After her
death, which took place in 1607, he married Catha-
rine Heyns. Quentin is believed by some to have
studied under Dierick Bouts, who was town painter
at Louvain ; but dates do not favour this theory,
for Bouts died in 1475. In 1491 Massys settled at
Antwerp, where he joined the Painters' Guild, and
rapidly became famous. In 1508 he painted the
' Descent from the Cross ' for the chapel of the
Joiners' Company in Antwerp Cathedral. It is
now in the Museum at Antwerp. Massys received
300 florins for his work, but it was sold in 1580 to
the magistrates of Antwerp for 1500 florins.
Massys died at Antwerp in 1531, leaving a large
family. Three of his sons were painters (see
Massys, Coenelis and Jan). The following are
some of his principal works :
119
Illast
A BIOGRAPHICAL DICTIONARY OF
master
Amsterdam. Museum, Virgin and Child.
Autwerp. Museum, Head of Christ. {Similar to
the National Gallery picture.)
„ „ Head of the Virgin. (Similar
to the National Gallery pic-
ture. )
„ „ The Magdalen.
„ „ Money-Ohanger.
„ „ Head of Christ.
„ „ Descent from the Cross; a
triptych.
Basle. Portrait of a Man.
Berlin. Museum. Madonna and Child.
„ „ St. Jerome in his Cell.
Brussels. Gallery. The History of St. Anne.
Cassel. Gallery. Old Man and Courtezan.
Dresden. Gallery. The Banker.
Florence. Vffiei. St. Jerome.
„ „ Portrait of Massys and his
Wife.
„ „ Portrait of a Man.
Frankfort. Gallery. Portrait of Kuipperdolling.
London. Nat. Gallery. Salvator Mundi and the Virgin
Mary.
Longford Castle. Portrait of Egidius.
Louvain. St. Peter's. Holy Family. Quinte Metsys,
SCEEEP DEES A° 1509.
Madrid. Gallery. The Village Doctor.
„ „ The Saviour.
Naples. Adoration of the Magi.
Paris. Zouvre. Banker and his Wife. Quintin
MaTST'S SOHILDEJt. 1518.
Petersburg. Virgin and Child.
Rome. Fal. Doria. Parable of the Unjust Steward.
Stockholm. Gallery. The Usurers.
Turin. Virgin and Saviour.
Venice. Christ before Pilate.
Vienna. Belvedere. Lucretia.
„ Liechtenstein Coll. S. Jerome. QuiNTiN Masts p.
1513.
Windsor. Castle. The Two Misers.
MAST, Herman. See Van der Mast.
MASTELLETTA, II. See Donducci.
MASTER A. D. F., The, was probably a painter
of the Austrian school about 1611, and is known
by an altar-piece, now in the Belvedere at Vienna,
representing St. Jerome, with scenes from his life ;
on the inner side of the laterals are the three Fathers
of the Church, the Emperor Henry the Saint, St.
Elizabeth, and the Queen of Hungary. It is signed
AD Flbn.
MASTER B. M., The, was a pupil and imitator
of Schongauer. We have nine plates by him,
among them :
The Judgment of Solomon.
St. John in Patmos.
A ' Riposo.'
A Pieti.
Madonna and Child in a Landscape.
St. Barbara.
MASTER C. T., The. See Anthoniszoon, Cor-
nelis.
MASTER E. S., or ' Master of 1466,' a prolific
engraver, whose name is unknown, but by many
is supposed to be Erhardt Schon. He was a
German, and judging from the dates on. his plates,
was born in the early part of the 15th century.
He is supposed to have travelled through
Switzerland, and worked a long time at the Court
of Burgundy. Bartsch names 136 plates from his
hand, among which there are scenes from the Old
Testament, scenes from the hfe of Christ, the
apostles and saints, &o. Among his most cele-
brated plates are :
The Baptism.
The Nativity of Christ.
The Judgment of Solomon.
The Creation.
Virgin and Child.
120
MASTER F. V. B., The. See Bocholt, Pkanz
von.
MASTER J, M. S., probably identical with
Mabdse (Gossaet, Jan, q. v.).
MASTER L. C. z. of 1492, The, seems to have
been influenced by M. Schongauer. We have ten
plates by him, of which the best is a ' Christ enter-
ing Jerusalem.'
MASTER M. Z., The, was a miniaturist in the
latter part of the 15th century, who painted under
the influenc&of Wolgemuth.
MASTER N. D. B. of 1544, The, engraved
' Cupids at Play,' after Raphael.
MASTER, Wy., The, an engraver of the Nether-
lands in the 15th century, executed sixty-one plates,
among which are a ' Sanota Veronica ' and a
Gothic Fountain.
MASTER OF 1423, The, is the autlfor of the
wood-out of ' St. Christopher with the Child Jesus,'
which was found in the Carthusian monastery at
Buchsheim, and is the earliest wood-cut but one
known. It is now in possession of Lord Spencer.
MASTER OF 1437, The, painted a 'St. Sebastian.'
MASTER OF 1439, The, executed two astrono-
mical plates for the Calendar of John de Gamundia.
MASTER OF 1454, The, executed a wood-cut of
' St. Bernard.'
MASTER OP 1461, The, prepared two wood-cuts
for a table of the golden numbers. They were
found in the Buchsheim monastery.
MASTER OF 1464, The, was an excellent en-
graver of the Lower Rhine. There are by him :
The Wheel of Fortune.
The Judgment of Paris.
The Fencing-room.
St. Jerome.
The Alphabet in Figures.
MASTER OF 1480, The, was a Dutch engraver,
who worked in the style of the Van Dycks. His
plates are very rare. The Cabinet at Amsterdam
has the best collection. Among them are :
A Young Man struck by Death.
St. .James the Less.
Elizabeth and Zachariah receiving Mary.
St. PhiUp.
The Peasant with the Shield.
St. Bartholomew.
Woman riding on a Man.
St. George and the Dragon.
MASTER OF 1482, The, an unknown engraver,
by whom we have :
Christ on the Cross.
The Power of Death.
A Woman with a Roll of Ribbon,
MASTER OF 1515, The, was the engraver of :
Scenes in the Life of Hercules.
The Death of Cleopatra.
The Fight of the Tritons.
Various Cornices and Entablatures.
Another ' Master ' of the same year executed
thirty-six plates, including :
Mary and Joseph adoring the Child.
Pope Julius II. 1512.
Soliman II. 1526.
MASTER OF the ANCHOR, The, engraver of
five very rare plates, representing scenes from the
Bible. His mark was an anchor between £ and R.
MASTER OF (BOIRSERIIS) BARTHOLOMEW,
also called The Master of the Altar of St.
Thomas, and of the Altar of the Cross, a
painter of the school of Cologne, working between
1490 and 1500. In style his work is not unlike
70.. of the Bird
PAmTERS AND ENGRAVERS.
m. of the Shuttle
that of Lucas van Leyden. Among his pictures
■we may name :
Munich. St. Bartholomew with SS. Agnes
and Cecilia.
„ St. Christina and St. James the
Less.
„ St. John the Evangelist and St.
Margaret.
MASTER OF THE BIRD. See Del Pohto.
MASTER OF THE BOCCACCIO, The. In an
edition of a Latin work by Boccaccio, entitled
'De Casibus illustrium Virorum et Mulierum,'
published at the end of the 16th century, there
are nine engravings by an unknown Dutch artist,
which are superior to the works of Israel von
Meckenen or Martin Sohongauer. There is a copy
of this book in the British Museum, and another
in the Fitzwilliam Museum at Cambridge. See
essay by Mr. Sidney Colvin in ' L'Art,' No. 177.
MASTER OF THE CADUOEUS. See Barbaej.
MASTER G. A. with the CALTHROP, an
unknown engraver who flourished in the latter
part of the 14th century, and engraved architectural
ornaments.
MASTER OF THE CANDLESTICK. See Hopfek,
Jan.
MASTER OF THE COMPASS, an Italian en-
graver, of whom Brulliot mentions a ' Young Man
and Pedestal, and landscape in the background.'
MASTER OF THE CRAB, The, probably identical
with Fhans CRABBE, whom see.
MASTER OP THE DAYS of CREATION, The,
an engraver, worked probably about 1485, in the
Netherlands. He is known only by his plates of
the ' Seven Days of Creation,' three of which are
to be met with as under :
Berlin. Soyal Coll. The Fifth Day, with the creation
of the animals and birds.
Dresden. Cab. of ) The Second Day, with the fall of
Engravings, j Lucifer.
Wiirzhurg. The Day of Best.
MASTER OF THE DEATH of MARY, The,
who was instructed by the Master of the Holy
Family (so called from his painting principally
Holy Families), was a painter of Cologne. His
chief performance is in the Pinakothek at Munich ;
it represents ' The Death of the Virgin.' To this
painter, who may have died about 1530, are
attributed :
Dresden. Gallery. Two paintings representing the
Adoration of the Magi.
Stuttgart. Gallery. The Descent of the Holy Ghost.
Vienna. Belvedere. Mary with the Child and the
Eosary.
„ „ The Child with the Cherries, and
the Holy Family.
„ Academy. The same.
" -^'S^'iTwoportraits. 1538.
He had several disciples, among whom we know
by name only Bartolomaus de Bruyn, whose works
are dated up to 1566.
MASTER OP THE DIE, The, erroneously called
Beatricius, studied under Marc-Antonio, and
flourished in 1532 — 33. Among his plates we may
name:
The Portrait of Pope Julius III. ; very rare.
Joseph sold by his Brethren ; after Raphael.
Christ carrying the Cross.
Abraham and the three Angels ; after Titian.
Thirty-two plates of the Fable of Psyche and Apuleius ;
after Coxcie.
MASTER OF THE FIGHTING-COCKS. See
SOYE.
MASTER OF THE FLAGS, The, so called from
the scrolls with texts which occur in his plates. He
flourished about 1464. There are by him :
An Alphabet. 1464. (A specimen of a portion of this
is to be seen at the Vienna Court Library, and of the
remainder in the Dresden Cabinet, where also are the
following) :
The Annunciation.
The Family of St. Anne.
Samson and Delilah.
Christ and St. Christopher.
MASTER OP THE KEY. See Cobona, Jacob
Lucius.
MASTER OF THE KNOT. See Garnieb, Noel.
MASTER of LEISBORN, The, is the name
given to an unidentified artist of Westphalia, who
was painting in the year 1465 for the Benedictine
abbey of Leisbom, near Munster. He was the
most important of the Westphalian masters of the
15th century. His principal work was the 'Cruci-
fixion ' which hung over the high altar of the
second convent church at Leisborn. It was sold
and divided on the establishment of the kingdom
of Westphalia by Napoleon in 1807. Some of
the pieces have disappeared, but a good many are
still in existence. Two panels, each with three
saints, are in the National Gallery. They are
painted on canvas primed with gesso, and stretched
over panels.
MASTER of the LOCUST, The, was so called
from the locust which accompanies his monogram
on a plate of the ' Holy Family,' which was copied
by Albreoht Diirer, Israel von Meckenen, and
Marc-Antonio, with the omission of the monk
and the book at the feet of Mary. He has also
left a ' Madonna and Child,' and a few scenes from
a ' Dance of Death.'
MASTER of the LYVERSBERG PASSION,
The, is so called from a series of pictures which are
now in the Wallraf Richartz Museum at Cologne,
but were formerly in the possession of Councillor
Lyversberg. They were painted between 146.3
and 1490. A series of scenes from the life of the
Virgin at Munich are, however, of greater merit
than these title works. The Munich Gallery pos-
sesses a large number of pictures by this master
and his scholars. He was formerly erroneously
identified with Israel von Meckenen and the Meister
von Werden. In a ' Presentation in the Temple '
the National Gallery possesses a good example of
(118 d.rt
MASTER WITH the NAME of JESUS, The, was
an engraver who flourished at Rome between 1556
and 1572. Among his plates are :
The going out of Noah from the Ark.
The Annunciation.
The Holy Family.
Virgin and Child.
Diana and Actseon.
Pan and Pomona.
View of the Coliseum.
MASTER OF the PACK of CARDS, The, a
clever artist who engraved a pack of twenty-flve
cards with figures of Christ, of the Madonna, and
of various animals.
MASTER OP THE PICKLOCK. See Thufel.
MASTER OF the RAT-TRAP. See Dati.
MASTER OF THE SHUTTLE. See Koln, Johann
VON.
121
M. of the Sibyl
A BIOGRAPHICAL DICTIONARY OF
IMCatham
MASTER OF THE SIBYL, The, was an engraver
of some ability who has left seven plates, the best
of which are :
The Sibylla Tiburtina before Augustus.
The Virgin Reading.
A Chess-player.
MASTER OP THE SIGNS of ST. ANTHONY.
See Anthoniszoon, Cornelis.
MASTER OF THE SPARROW. See Passerotti.
MASTER OF THE STAR. See Star van Dirk.
MASTER OF THE TAROTS, The, engraved
seventy-two excellent card-plates. He was a native
of Cologne, and flourished from about 1461 to 1483.
MASTER OF THE TREFOIL. See Thdfel.
MASTER OF THE TWELVE APOSTLES, The,
the painter of a picture of the twelve apostles,
now in the old Pinakothek at Munich, where it is
classed in the school of the Master of the Lyvers-
berg Passion.
MASTER OF THE TWO CROSSED ANCHORS,
an unknown engraver to whom the date 1672 is
assigned.
MASTER OF THE UNICORN. See Duvet,
Jean.
MASTER OF WERDEN, an old German histori-
cal painter, who flourished about 1480. He is so
called because many of his works were painted
for the abbey of Werden near Dusseldorf .
MASTER OF THE WINE- VAT. See Weiner,
Hans.
MASTROLEO, Giuseppe, painter, was a native
of Naples and pupil of P. de Matteis. He painted
historical pictures, and died in 1744.
MASTURZO, Maezio, a native of Naples,
flourished about 1670. He was a pupil of A.
Falcone and Salvator Rosa, and accompanied the
latter to Rome. He painted landscapes, battles,
and historical subjeote.
MASUCCI, Agostino, was born at Rome in 1691,
and was the last scholar of Carlo Maratti. The
subjects he usually treated were, for the most part,
Holy Families and scenes from the life of the Virgin.
Of his works in the churches and public edifices at
Rome, the best, perhaps, are his ' St. Anna ' in the
church Al Nome di Maria, and a ' Holy Family '
in Santa Maria Maggiore. But his most consider-
able work is his ' St. Bonaventura,' at Urbino.
He also executed a number of works for the King
of Portugal. He died in 1758. J. Beham, J.
Frey, and others have engraved after him. His
son and pupil Lorenzo died in 1772.
MATARANA, BartolomA, a Spanish painter of
Valencia, who flourished early in the 17th century,
and is known only by his frescoes in the college
chapel of Corpus Christi, representing various
biblical and legendary histories. Matarana re-
ceived for the whole 5879 crowns. Oean Ber-
mudez praises his colouring.
MATENARE, Jacques, a French historical
painter, who was born at St. Omer, and died in
1577.
MATEOS, Jean, a Spanish painter who
flourished in 1665, and was one of the founders
of the Academy of Seville.
MATH AM, Adriaen, the third son and a pupil
of Jacobus Matham, was born at Haarlem, prob-
ably about 1608. In 1640 he visited Morocco
in the suite of an embassy from the States of
Holland, and did some work there. Five plates
representing episodes of the reception are extant.
An account of the journey is in the library at
122
Vienna. Between 1624 and 1627 Matham was at
Haarlem, but in 1646 he was settled at the Hague,
and a member of the St. Luke's Guild there. He
worked entirely with the graver, in a style
resembling that of J. de Qheyn the elder. The
following are his best prints : — •
portraits.
James Graham, Marquis of Montrose.
Peter Bor Christiaensz, Historiaa ; after F. Hals.
D. Sibrandiis Sixtius Oistervirius ; after N. Moyaeii.
SUBJECT pictures.
The Golden Age ; after H. Goltzius. 1620.
An old Man caressing a Woman, to whom he presents
his Purse ; after the same.
Two Beggars, the Man playing on a Viol, the Woman
singing ; after A. van der Venne.
A Combat of six grotesque Figures ; after the same.
MATHAM, Jacobus, a Dutch engraver, who was
also a painter and designer, was bom at Haarlem
in 1571. He was the son-in-law of Hendrik Golt-
zius, by whom he was instructed in the art ; and,
by his advice, went to Italy, where he engraved
several plates after the works of the most eminent
Italian masters. On his return to Holland he
worked under the eye of Goltzius, and executed a
great variety of prints, after the ablest painters of
the Low Countries. In 1600 he entered the Guild,
of which in 1605 he became the president. He
died at Haarlem in 1631. He worked entirely
with the graver. He sometimes marked his prints
with Math. Inu., J. Math, inv., Af /e., or a mono-
gram. He painted the portraits of Dukes Wilhelm
and Johann Wilhelm of Cleve, both of which were
engraved by Swanebui-g. The following are his
principal engravings :
portraits.
Philip William, Prince of Orange ; after M. Mierevelt.
Henry of Nassau, Prince of Orange. 1610.
Bust of Philip Winghius, inscribed Renricus Goltzius
Amicities ergo deli'mahat Rovke.
' Michel Angelus Buonarrotus.'
Abraham Bloemaert ; after Paul Moreelse.
SUBJECTS AFTER ITALIAN MASTERS.
The Holy Family, with St. Anne ; after Raphael.
Mount Parnassus, with ApoUo and the Muses; after
the same.
The Holy Family, with St. Catharine; after Titian.
1592.
The Alliance of Venus with Bacchus and Ceres ; after
the same.
The Visitation of the Virgin ; after Salviati.
Christ washing the Feet of His Disciples ; after Taddeo
Zuccaro.
Christ praying on the Mount ; after the same.
The Nativity ; after the same.
The Assumption of the Virgin ; after the same.
The Adoration of the Kings ; after Fed. Zuccaro.
Christ curing the Sick ; after the same.
Christ raising the Widow's Son ; after the same.
The Visitation of the Virgin ; after Paolo Veronese.
SUBJECTS AFTER GOLTZIUS.
The Fall of our first Parents.
The Visitation of the Virgin to St. Elizabeth.
The Crucifixion, with the Virgin and St. John.
Christ appearing to Magdalene. 1602.
Christ with the Disciples at Emmaus.
The Loves of the Gods, Jupiter and Europa, Apollo
and Leucothoe, Mars and Venus, and Hercules and
Deianira ; four plates.
Perseus and Andromeda. 1597.
The Four Seasons ; in four circular plates. 1589.
Faith, Hope, and Charity. 1590.
The seven Cardinal Virtues ; in seven plates.
The seven Mortal Sins ; in seven plates.
The Type of Human life ; in three plates. 1592; scarce.
nCatham
PAINTERS AND ENGRAVERS.
Iffatliisseiis
SUBJECTS AFTER GERMAN AND DUTCH MASTERS.
Abraham sending away Hagar; after Ah. Bloemaert,
The Annunciation ; after the same.
The Adoration of the Shepherds ; after the same.
Jupiter and Danae ; after the same.
Cupid and Psyche ; after the same.
Samson and Delilah ; after Eulens.
The dead Christ, with the Marys ; after Jer. Franck.
The Crucifixion ; after Albrecht Diirer ; scarce.
Venus asleep, surprised by Satyrs ; after Eottenhamer.
A set of five prints of Fruit-pieces, and the luteriors
of Kitchens; after Fieter A arisen ; scarce.
MATHAM, Jan, painter, was the son of Jacobus
Matham, and was born at Haarlem. He was a
member of the Guild of St. Luke in 1628, and
died young in 1643.
MATHAM, Thbodor, the second son and pupil
of Jacobus Matham, was born at Haarlem in 1669.
After engraving a few plates in his own country
he went to Italy, where he entered the school of
Comelis Bloemaert ; in conjunction with Michiel
Natalia, Renier de Persyn, and others, he engraved
the statues in the Palazzo Giustiniani. On his
return to Holland he engraved a variety of plates,
principally portraits, which are executed with the
graver, occasionally assisted with the point. As a
painter he worked for the Duke of Savoy at one of
his palaces near Turin. He died about 1677. He
usually signed his plates with his initials T. M.,
with the addition of fecit or sculpsit. We have
the following prints by him :
PORTRAITS.
Michel le Blon, Agent to the Crown of Sweden ; after
Van Dycle.
Joost van de Vondel, Dutch Poet ; after Sandrart.
D. Gerardus Vossius, Cauonicus Cantuarieusis ; aftei'
Sandrart.
Philip 'William, Count Palatine of the Bhine ; after
J. Spilherg.
Wolfgang William, Count Palatine ; after the same.
SUBJECTS.
The Virgin and Infant, with St. John ; after Bassano.
The Holy Family ; after J. SandraH.
Diana and Acteon ; Th. Matham fee.
The Descent from the Cross, with the Marys, St. John,
and Joseph of Arimathea ; after Gerardus Leydanus ;
fine.
MATHEI, Paul de. See Matthai.
MATHES, Christoph Georg, (Matthes,) a
painter and engraver, born at Berlin in 1738. He
was a pupil of B. Rode, and painted portraits,
landscapes, and architectural views. He engraved :
The Prodigal Son ; after Dietrich.
Portrait of P. P. Werner.
MATHES, NicoLAUS Christian, (Matthes,) en-
graver and draughtsman, was born at Hamburg in
1729. He went to Nuremberg and married a niece
of J. G. Prestel. Lichtensteger engraved after
him a portrait of P. G. Baier. His wife, Elizabeth
Christina, born at Nuremberg in 1749, and died
about 1800, painted flowers and birds.
MATHEUS, — , a French engraver, resided in
Paris about the year 1620. He was chiefly em-
ployed by the booksellers, and engraved several
plates of frontispieces, and other book ornaments,
which are, for the most part, from his own designs.
We may name the following by him :
The Adoration of the Mag^ ; from his own designs.
The Frontispiece to a ' General History of France ' ;
published at Paris in 1 619.
A Frontispiece to the ' Works of Thomas Aquinas.'
1622.
A Frontispiece to 'Amours d'Endymion et de la Lune.'
1624.
MATHEY, C. The name of this engraver is
afiBxed to the portrait of Arcangelo Corelli, the
musician, after Howard.
MATHIAS, Gabriel, exhibited in London in
1761 and following years, but being unsuccessful
in art he obtained an appointment in the Privy
Purse Office. One of his pictures, ' A Sailor splicing
a rope,' is engraved by McArdell. He died very
old in 1804.
MATHIEU, A., a French engraver, flourished
about the year 1656. We have by him some
spirited etchings, completed with the burin, in a
style somewhat resembling the works of Callot, for
a thin folio volume entitled ' Les Armes triomphantes
de son Altesse Monseigneur le Due d'Esperon pour
le sujet de son heureuse entree, faite dans la ville
de Dijon.' 1656.
MATHIEU, Anna Kosinb. See Lisczewska.
MATHIEU, Antoinb, born in England in 1632,
vrorked as a portrait and historical painter in Paris,
Dijon, and other French towns. He died in London
in 1673.
MATHIEU, AuGUSTB, a French painter of in-
teriors, was born at Dijon in 1807, and died in
1866.
MATHIEU, David, a portrait painter, born at
Berlin in 1697, was a pupil of J. Werner 'the
younger.' He married Anna Rosine Lisozewska.
His sons, Georg David and Hbinrich Freidrich
Leopold, born at Berlin in 1737 and 1750, were
instructed by their mother. Georg David settled
in Sweden, where he died in 1776. Heinrich died
at Gottingen in 1778.
MATHIEU, Jean, (or Matthieu,) an engraver,
born in 1749, was a pupil of Longueil. He was
one of the artists employed in the ' Voyage de la
Grece,' by Choiseul Gouffier, in the ' Voyages des
Royaumes de Naples et de Sicile,' by St Non, and
'Voyage d'Espagne,' by Laborde. Some of his
engravings are ia the Poullain Cabinet and in the
'Galerie de Florence.' He engraved ' La Vierge
aux Candelabres,' after Raphael ; and subjects
after Carraoci, Claude, G. Poussin, F. Mola, K. du
Jardin, J. Vernet, Ruisdael, and Wouwerraan. He
died at Fontainebleau in 1815.
MATHIEU, Lambert Joseph, a Belgian his-
torical, genre, and portrait painter, born at Bure
(Namur) in 1804. He studied at Antwerp under
Van Bree, and settled at Louvain, where he became
Director of the Academy. He died in 1861.
Amongst his chief works are :
Death of Mary of Burgundy. (Brussels Museum.)
The Entombment. (The same.)
Virgin and Child.
Young Venetian Girl in a Balcony.
MATHIEU, Pierre, a portrait and historical
painter, son of Antoine Mathieu, was born at Dijon.
In 1708 he became a member of the French
Academy, and died in 1740.
MATHILDE, Princess of Bavaria, and Grand
Duchess of Hesse, painted landscapes early in the
present century. She was a pupil of D. Quaglio.
At Munich are views of Puzzuoli near Ischia, and
Nymphenbourg near Munich by her. She was born
in 1813, and died in 1862.
MATHISSENS, Abraham, (Matthyssbns, or
Mattys,) a Flemish painter, was born at Antwerp
in the year 1581. He was a pupil of Tobias van
Haecht. According to M. Descamps, he was a
reputable painter both of history and landscapes.
In the cathedral at Antwerp is a picture by him
of the ' Death of the Virgin ' ; in the church of the
SEaton
A BIOGRAPHICAL DICTIONARY OF
Hattioli
Recollets, an altar-piece representing the 'Virgin
and Infant Saviour with St. Francis,' and in the
Dresden Gallery » picture of still life by him,
which is signed Broder Matthisen fecit, Anno 1641.
He died in 1649. His son, Balthasae, was also
a painter.
MATON, B., (Matton, Mathon,) was a Dutch
painter, who copied the works of Gerard Dou and
Willem Mieris. He was particularly successful in
his copies of Dou's candle-light pieces. No par-
ticulars of his life are recorded, but from the
appearance of his works he seems to have been
contemporary with Willem Mieris. His pictures are
of small dimensions, and on panel.
MATSIJS. See Massys.
MATTEI, SiLVESTEO, historical painter, was
born at Ascoli in 1663. He was a pupil of C.
Maratti. He died in 1739.
MATTEIS, Paolo db, a painter and engraver,
was born at Cilento, near Naples, in 1662, and,
according to Lanzi, was the most celebrated scholar
of Luca Giordano and J. Maria Morandi. He first
followed the style of Giordano, whose rapidity of
execution he appears to have largely acquired. He
worked at Rome for Popes Clement XI. and XII.
and Benedict XIII. In the early part of his life
he went to France, where he was employed for
three years in some considerable works for the
court. He was invited to Rome by Benedict XIII.,
where he painted several pictures for la Minerva
and the church of the Ara Coeli. At Genoa, in
the church of S. Girolamo, are an ' Immaculate
Conception,' with a glory of angels, and ' St.
Jerome appearing to S. Saverio in a dream.'
At Naples he painted for churches (especially
in San Fernando) and galleries, and was em-
ployed in Monte Casino in 1692 and 1706-9. He
painted the great cupola of Gesu Nuovo in sixty-
five days. He died at Naples in 1728. He signed
his works with P. M. J-, Pan de Mat. Inv. Aquila,
J. DaulW, and others engraved after him. Among
his works are :
Milan. Museum. Acis and Galatea.
Munich. Gallery. Death of Cato of Utica.
Eistoja. Church of St. } St. Gaetauo and a Christ in
Faul. J glory.
Vienna. Gallery. Meeting of Herminia and the
Shepherds.
MATTENHEIMER, Andreas Theodoe, was
bom at Bamberg in 1752. His father was a
gardener, and after his death he received his first
instruction from a painter at Waldsassen. After
that he went to Munich, and then to Berlin and
Dresden. He afterwards returned to Bamberg, and
worked with Scheubel at altar-pieces for different
churches. He also painted several altar-pieces on
his own account. He died in 1810. His son
Joseph, who studied under his father, and died
young in 1802, painted portraits.
MATTENHEIMER, Carl, son of Andreas
Mattenheimer, was born at Bamberg in 1791. He
was instructed by his father, and also studied at
Vienna and Munich. He remained in Munich
some years, and painted several portraits. In
1820 he became teacher of drawing at Zwei-
briicken, and later on inspector of the Gallery at
Bamberg. He died in 1852.
MATTENHEIMER, Theodor, was born at
Bamberg in 1787. He was instructed in painting
by his father, Andreas Theodor Mattenheimer,
and afterwards attended the Academy at Munich,
and in 1811 that at Vienna. Subsequently he
became inspector, conservator, and director of
several galleries, and distinguished himself by his
paintings of still-life. Of his portraits those of the
Duchess Mary Anne and the Queen of Prussia are
noteworthy. He successfully restored several
paintings in the churches at Munich, in which city
he died in 1860.
MATTEO and his pupil Aloisb, were miniature
painters who lived in the 16th century. The first
was a native of Terranova, Calabria, and studied
at Rome ; the second was born at Naples. They
painted duiing 1607-23 the mass-books in Monte
Casino at Naples, and in 1526-27 the mass-books
at Perugia.
MATTEO Dl GIOVANNI (di Bahtolo), called
Matted da Siena, the son of a tinman of Borgo
San Sepolcro, was born not later than 1436. He
was considered one of the best Sienese painters of
his time. The ' Madonna della Neve ' (the ' Madonna
in the Snow '), painted for the brotherhood of that
name at Siena, is a fine example of his art ; it is
signed "Opus Matei di Senis," and dated 1477.
Matteo painted several pictures representing the
' Murder of the Innocents,' two of which are still
preserved in Siena. A third is in the Naples
Gallery. A mosaic by him of the same subject
is on the floor of the Siena Cathedral ; a rub-
bing from it is in the South Kensington Museum.
An 'Assumption of the Virgin,' in the National
Gallery, is a first-rate specimen of Matteo da Siena.
He is also represented in the same collection by a
small 'Ecce Homo,' which was long ascribed to
Niccolo da Foligno. Matteo died in 1496.
MATTEO DA SIENA, called Matteino, land-
scape painter, was a native of Siena, and flourished
in the 16th century. He lived chiefly at Rome,
where he painted the landscapes in the pictures of
Circignano. He died at Rome.
MATTEDS, CoENELis. The name of this artist
is affixed to a spirited etching of a landscape, with
a ruin in the background ; it is executed in a style
resembling that of Herman Swanevelt.
MATTHAI, JoHANN Peiedeich, was born at
Meissen in 1777, and studied at the Academy at
Dresden. He went subsequently to Vienna, where
he worked under Fiiger, and afterwards to Florence
and Rome. He died at Vienna in 1845. Matthai
was director of the Dresden Gallery and Academy
of Art. Among his best scholars were Rietschel
and Steinle. Two of his best pictures, the ' Death
of Codrus ' and the ' Death of .Slgistheus,' are in
the Gallery over which he himself presided. His
son, Heinrich Matthai, acquired some distinction
as a landscape painter. He died at Dresden in 1880.
MATTHIEW. See Mathiett.
MATTIOLI, Gieolamo, a painter, born in the
neighbourhood of Bologna about 1550. He studied
first under Sabbatini, and then under the Carracci.
He died young.
MATTIOLI, LoDovico, was bom at Guisa, near
Crevalcore, in Piedmont, in 1662, and leamed design
in the school of Carlo Cignani, with the intention
of becoming a painter, but the success of some
essays in etching induced him to devote himself
principally to that art. He died at Bologna in
1747. He painted several landscapes in fresco
at the Orphanage of San Bartolommeo in that
city. We have a variety of etchings by him,
after the Bblognese masters, as well as from his
own designs ; among them the following :
The Annunciation ; after Lod. Carracci j scarce.
The Oiroumcisiou ; after the same.
Uatton
PAINTERS AND ENGRAVERS.
Maurer
The Nativity ; after Ayost. Carracci.
Christ and the Woman of Samaria ; after Annib. Car-
racci.
The Death of St. Joseph ; after Franceschini.
The Presentation in the Temple ; after G. M. Crespi.
The Martyrdom of St. Peter ; after the same.
Ecce Homo ; after Van Dyck.
Several Landscapes ; after Guei'cino.
MATTON, B. SeeMATON.
MATURING, B. C, was born at Florence in
1490. He had the advantage of studying under
Raphael, and was employed by him in ornamenting
the Loggie of the Vatican. He was the instructor
of Polidoro da Caravaggio, in conjunction with
whom he was much employed in ornamenting the
exterior of Roman palaces. One of the most cele-
brated of the united works of the two painters was
the ' Death of the Children of Niobe,' at the Mas-
chera d'Oro. The sacking of Rome by the Spaniards
in 1527, separated the friends, and interrupted their
work. Maturino did not long survive that event,
and is said to have died of the plague when he
was little more than thirty-seven years of age.
His works are signed B. G- M. The greater part
of his work done in collaboration with Polidoro
has long disappeared, but most of it has been
engraved by Cherubini Alberti, Pietro Santi Bartoli,
and others. The ' Story of Perseus and Andro-
meda' is still to be seen in the summer-house of
the Palazzo del Bufalo.
MATVEIEPP, Feodoe Miohailowitsch, born at
St. Petersburg in 1758, stayed at Rome in the early
part of the 19th century, and was one of the rnost
distinguished Russian landscape painters of histime.
He died there in 1826. His chief productions are
in the Hermitage at St. Petersburg.
MATVLEFF, Ivan, a portrait painter, was born
at Novgorod in 1704. He was sent by Peter the
Great in 1719 to Holland, and went afterwards
to Rome, where he passed some time. He died
at St. Petersburg in 1736.
MAUBERT, Jacques, portrait painter, and a
pupil of ' Magdalen ' Smith, was probably a native
of France. According to Lord Orford, he resided
in England in the reign of George I. He distin-
guished himself by copying all the portraits of
English poets he could meet with. He painted
Dryden, Wycherley, Congreve, and some others,
from the life, and the first of these three portraits
is in the National Portrait Gallery. He died in the
year 1746.
MAUBEUGE. See Gossaeet.
MAUCH, Eduard, engraver and designer, was
born at Geisslingen in 1800. His artistic education
was received in Ulm and Stuttgart. Most of his
life was passed in forwarding the cause of art in
his native district. In 1840 he published, in con-
junction with Dr. Gruneisen, ' Ulms Kunstleben in
Mittelalter.'
MAUCH, JoHANN Matthaus von, architect,
designer, engraver, lithographer, &c., was born at
Ulm in 1792. Most of his life was passed in the
teaching of the minor arts connected with archi-
tecture at Munich. He died at Stuttgart in 1856.
Among his pictorial works we may name a ' View
of the Bay of Naples, from the top of Vesuvius,' in
water-colours.
MAUCOURT, Charles, a portrait painter and
mezzotint engraver, was born in Germany, and
resided for several .years in London, practising m
both oil and water-colours, as well as miniature.
He belonged to the Incorporated Society of Artists,
and exhibited from 1761 to 1767. He died in
London in 1768. Among other prints, he left one
of ' The Expulsion of the Jesuits from Spain,'
signed G. Maucourtfec.
MAUDUIT, Louise Marie Jeanne, a French
portrait and history painter, was born in Paris in
1784, and became the wife of Louis Hersent. She
learnt her art under Meynier. Her death took
place in 1862. Her chief works are :
Visit of Louis XIV. when a child to Peter the Great.
St. Vincent de Paul and Sisters of his Order.
Henrietta de France. (Portrait.)
MAULBERTSCH, Anton Franz, (Maulpartsch,
Madlbetsch,) was born at Langenargen, on the Lake
of Constance, in 1724. He was instructed by Van
Roi at Vienna. There are several frescoes by him
at Inspruok, in the court chapel and rooms of the
Empress Maria Theresa ; at Dresden, in a chapel
of the court church, and at Prague in the library,
these last having been executed in 1794. Of his
oil-paintings may be mentioned ' Christ on the
Cross.' He etched several plates, among others
' The Death of Joseph ' and ' The Quack on the
Rostrum.' He sometimes signed his works A. M.
He was a member of the Academy at Berlin, and
cabinet painter to the court there. He died at
Vienna in 1796. Alberti, Schmutzer, and others
have engraved after him.
MAUPAIN. See Maupin.
MAUPBRCHl^, Henri, a French painter and
engraver, was born in Paris in 1602. He painted
landscapes in a style somewhat like that of Her-
mann Swanevelt. He was a member of • the
Academy of Paris, and. became a professor in 1655.
He died in 1686. In the large room at Fontaine-
bleau are fourteen landscapes in fresco by him.
We have fifty-one etchings of his, some of which
are from his own designs, and others after H.
Swanevelt. The following may be named :
A set of six plates of the History ofTobit.
A set of six plates of the History of the Virgin, from
the Annunciation till the Flight into Egypt.
Twelve Landscapes ; after Hermann Sioamvelt.
Two plates of the Prodigal Son.
Four Landscapes, with Figures and Euins.
MAUPIN, Paul, (or Madpain,) according to
Basan, was a native of Abbeville, and flourished
about the middle of the 17th century. He executed
some wood-outs in chiaroscuro, after J. Stella. Basan
mentions another engraver on wood, of the name
of Maupain, a relation of the above-mentioned
artist, but he does not specify any of his works.
MAURER, Caspar and Domenico, brothers,
gained great reputation at Munich in the end of
the 17th and beginning of the 18th centuries for
their decorative and architectural paintings.
MAURER, Christoph, (or Muebk,) was born at
Zurich in 1558. His father, JosiAS Maurer, was a
painter of some merit, by whom he was instructed
in the first elements of design, but he afterwards
studied at Strassburg, under Tobias Stimmer, whose
style he adopted, and in conjunction with whom
he published a series of hunting-pieces in 1606.
He painted a large number of facades with scenes
from Scripture and Roman history, as well as from
that of his own country. His portraits in oil are
little inferior. He died at Winterthur in 1614.
MAIJRER, Heinkich, a Swiss painter and en-
graver, was born near Zurich, in 1774. _ He was
instructed by J. C. Huber, and studied after-
wards under Dillio at Munich and Granicher at
Dresden. He died in 1822.
126
KCaurer
A BIOGRAPHICAL DICTIONARY OP
Mayer
MAURER, Hubert, historical and genre painter,
was born at Rattehen, near Bonn, in 1738. His
parents were poor, and in 1762 he came without
means to Vienna, where he was instructed in
painting by Baumgartner and IWeytens. Through
application and ability he, in 1774, obtained a pen-
sion for Rome. He remained there four years, and
became in 1785 a professor and councillor of the
Academy at Vienna, where he died in 1818. He
painted a considerable number of altar-pieces and
portraits, among which are :
Vienna. Belvedere, Christ receiving Children.
„ Uofburg Chapel. St. Catharine.
„ Acad.of Engineers. God the Father in the Clouds.
MAURER, Jakob, a painter, was born at Schaff-
hausen in 1732. He studied at the Academy
of Amsterdam, and painted landscapes, animals,
portraits, and historical subjects. He lived in
Holland, where he died in 1780.
MAURER, J., was a native of Switzerland. He
came to England about the year 1745, where he
engraved several views of buildings, &o. in
London. He also drew largely with the pen.
MAURER, JosiAS, a portrait and historical
painter, born at Zurich in 1530. In 1576 he
engraved on wood a plan of his native town. He
died in 1580.
MAURICE, Lonis Joseph, a French historical
and decorative painter, born at Nancy in 1730. He
was brought up for the law, but his art tastes
proved too strong. In 1758 he went to St. Peters-
burg, where he became principal painter to the
Empress Elizabeth, and directed the coronation
f^tes on the accession of Ca/tharine II. On his
return to Prance he was employed by Marie
Antoinette in decorative work. He formed a rich
collection of objects of art. He died in Paris in
1820.
MAURICE, Saint. See Saint Maurice.
MAURIN, Antoine, a French historical painter,
born at Perpignan in 1793, and died in 1860.
MAURIN, Nicolas Eustache, a painter, probably
related to the last-named, was born at Perpignan
in 1798. He went to Paris, and became a pupil
of Regnault. He painted portraits and historical
pictures, among which were:
Leopold I., King of the Belgians.
Eleven portraits of the Koyal Family of France.
Portrait of Charles V.
Taking of the Louvre.
MAUS, BuGBKE, a Flemish painter, born at
Ixelles, near Brussels, in 1847. He painted land-
scapes and still-life. He died in 1881.
MAUZAISE, Jean Baptiste, was born at Corbeil,
Seine et Oise, in 1784, and studied under Vincent.
He first exhibited in 1812 with an 'Arab bewailing
the loss of his Horse.' He was a member of the
Legion of Honour, and died in 1845. He was
one of the earliest practitioners in lithography.
Among his paintings are :
Bordeaux. Museum. The Death of Clorinde.
Paris. Palais Royal. Lorenzo de' Medici, with his
Family and the Learned
Men and Artists at his Court.
MAWLEY, George, an English landscape
painter in oil and water-colours, born in London
in 1838. He studied at Gary's school and in the
schools of the Academy. His works appeared at
the Dudley Gallery and the Academy. He died
in London in 1870.
126
MAXWELL, GEORGE; an English landscape
painter, born in 1768. His works were praised by
Sir Joshua Reynolds, and were exhibited at the
Academy in 1787-9, in which latter year Jie died.
MAY, Jan or Hans. See Vebmeijen.
MAY, Olivier lb, a landscape and marine
painter, born at Brussels in 1720. Masquelier and
others engraved his views. He paid two visits to
America, and died about 1797.
MAYER, Bartolomaus, a painter, was born at
U)m about 1650. None of his paintings are
known. He died in 1729.
MAYER, Christian, was born at Vienna in
1812, and studied the art of engraving under
Kininger. He died at Vienna in 1870. The best
of his plates are :
The Development of the Sciences upon Grecian soil ;
after RaM^s frieze for the Athejis University.
Ariadne ; after Eeynolds.
Madonna ; after Celio Ord.
The Pursuit of the Christians in the Boman Cata-
combs J after Eahl.
lo ; after Correyyio.
The Four Divisions of the World ; after Rubens,
Boreas carrying off Orithyia ; after the same,
MAYER, Fbiedrich, landscape painter, was
born in 1825, and died in 1875. He painted
chiefly Alpine scenes.
MAYER, Johann Alois, was born at Lienz in
the Tyrol in 1801. He practised for a time as a
portrait painter at Innspruck. Afterwards he
went to Munich, and deserted portrait for genre.
He died in 1831.
MAYER, Karl, was born at Nuremberg in 1798,
and died at the same city in 1868. He studied
under Freiherr Christoph Haller, Priedrich Pleisch-
raann, and subsequently under Desnoyers and
Coigny in Paris. He distinguished himself as a
painter and an engraver on steel, and illustrated a
number of books, including Schiller's works and
some almanacs. His best plates are :
The Good Shepherd ; after Fiihrich.
Christ on. the Cross ; after Dilrer.
MAYER, Karl, was born at Vienna in 1810,
and his father dying soon after his birth, his
mother supported herself and child upon a very
small pension. His father's brother taking an
interest in the orphan, adopted him, and wished
him to be educated for the service of the Govern-
ment, but his talent for art was so decided that
his uncle finally encouraged it, and he was placed
under Gsellhofer in the Vienna Academy. Karl
Mayer travelled in various parts of Austria and
Germany, and acquired the friendship of Schubert
the composer. In 1834 he settled for a time at
Munich. 'In 1842, having obtained the prize of
Rome with his ' Prometheus and Pandora,' he com-
menced his travels in Italy, and after his return, in
1846, painted many noticeable pictures. In 1851
he was elected to the professorship of the smaller
Academy at Vienna, and was largely employed in
fresco paintings. In 1873 he fell out of health,
and received assistance in the form of a pension,
which he enjoyed until his death in 1876.
MAYER, Marie Franqoise Constance M. la
Martiniere, was born in Paris in 1778. She was
instructed by Sauvde, Greuze, and Prud'hon. She
exhibited many portraits and other subjects, in
Prance, from 1800 to 1821, in which year she com-
mitted suicide through vexation caused by her
love for Prud'hon. Among her works the most
popular were :
Uayno
PAINTERS AND ENQBAVEBS.
Hazzoni
Innocence between Love and Kiches.
Yeuus and Cupid asleep, caressed and awakened by
Zephyrs.
The Torch of Venus.
The Happy Mother.
The Abandoned Mother (in the Louvre).
A Young Naiad repelUng a Troop of Lovers who are
disturbing her in her retreat.
AOream of Happiness.
MAYNO, Fray Juan Bautista, was bom in
1569, and is said to have been instructed by Greco.
At an early period of his life he became a Domini-
can monk ; but this seclusion from the world did
not prevent the exercise of his talents, and he was
reputed one of the ablest painters of his time. He
had the honour of being drawing-master to Philip
IV., and was employed by him to paint his cele-
brated battle-piece in the Buen' Betiro, into which
he has introduced Olivarez animating the troops
to victory, by showing them the portrait of their
King Philip. He was also superintendent of the
paintings in the royal palaces. He died at Milan
in 1649. Among his paintings we may name :
Madrid. Museo. The Nativity.
„ „ The Kesurreofcion.
„ „ The Descent of the Holy Ghost.
„ „ The Mystery of the Trinity.
Toledo. S. Pedro \ „. p .
„ Cathedral. The History of St. Hdefonso.
MAYO, Joan db. See Vbrmeijen.
MAYOR, Barsaby, painter and engraver, who
flourished in the last half of the 18th century. He
painted a picture of Wenlock Abbey, engraved by
Valentine Green. He died in 1774.
MAYB, Heinrich von, was born at Nuremberg
in 1806, and after studying in that city under the
direction of his step-father, went to Munich in
1825. On accompanying Duke Maximilian on his
journey to the Bast, he executed several excellent
genre paintings, some of which are at the Rosen-
stein near Stuttgart.
MAYR, JoHANN Ulrioh, (or Mair,) was bom at
Augsburg in 1630, and died at the same city in
1704. He was an excellent disciple of Rembrandt
and Jakob Jordaens, and was most distinguished as
a painter of portraits, amongst which were Joachim
von Sandrart and a painting on glass of himself.
Of his other works we note :
Augsburg. Anna-kirche. Christ iu Prison.
Vienna. Belvedere. The Apostle Philip reading in
a book.
MAYRHOFER, Johann Nepomhk, flower painter
and lithographer, was born at Obemeukirchen, in
Austria, in 1764. He was instructed by Haslinger
at Linz, and studied afterwards at Munich. He
was an excellent painter of flowers and fruit, as
we may see in his ' Flora Monacensis ' (Munich,
1816—30). He died at Munich in 1832.
MAZELL, Peter, an English engraver who
flourished in the second part of the 18th century,
and worked for Pennant and Boydell, and all the
engravings in Cordiner's ' Ruins and Romantic
Prospects in North Britain' (1792) are by him.
MAZO, Martinez Juan BAutista del. See Del
Mazo Martinez.
MAZOT, — , is mentioned by Strutt as an en-
graver, by whom we have a few indifferent por-
traits ; among others, that of Christian IV., King
of Denmark.
MAZZA, Damiano, was a native of Padua, and
disciple of Titian. He chiefly resided at Venice,
where he painted for the churches ; but his most
celebrated work was his picture of ' Ganymede
taken up by the Eagle,' in the Casa Sonica at
Padua. Mazza died young.
MAZZAEOPPI, Marco, was born at San Ger-
mane, near Naples, about 1570. His principal
works are to be found in the Abbey of Mont
Cassin, near San Germane. He died in 1620.
MAZZIERI, Antonio di Donnino, according to
Vasari, was a native of Florence, and a disciple of
Francia Bigio. He flourished about the year 1520,
and distinguished himself as a painter of land-
scapes and battle-pieces, which were well coloured
and handled with spirit.
MAZZOCCHI. See Doni, Paolo.
MAZZOLA, Fran, and Girol., (Mazzoli, or
Mazzolo.) See Mazzuola.
MAZZOLA, Giuseppe, was born at Valduggia, in
Piedmont, in 1748, He formed himselE at first on
Gaudenzio Ferrari, afterwards on Correggio. By
the assistance of King Victor Amadeus III. of
Savoy, he went to Rome in 1774, and studied the
works of Raphael and Michelangelo. From 1789
to 1797 he was court painter to his patron. In
1802 he established himself at Milan, and became
director of the Gallery there. From 1803 he was
obliged to paint with the left hand. Mazzola died
at Milan iu 1838. Among his best paintings are :
A ' Holy FamUy.' (Brera, Milan.)
The Ascension of Mary.
The portrait of King Amadeus III.
MAZZOLINI, Giov. Bern. See Azzolini.
MAZZOLINI, LoDOVico, called Mazzolini da
Fburara and LoDOVico Ferraresb, was born at
Ferrara about 1481. He was a scholar of Lorenzo
Costa, and may be placed next after Garofalo
among the masters of his native town. His pictures
are even more remarkable than others of their
school for their architectural backgrounds. Three
small examples in the National Gallery show this
tendency in a very marked way. Perhaps Mazzo-
lini's best picture is the first in the list below. He
died in 1530.
Berlin. Museum. Christ and the Doctors. 1524.
„ „ Holy Family.
Bologna. Pinacoteca. The Nativity.
„ „ Go5 the Father.
Dresden. Gallery. Bcoe Homo.
Ferrara. Pinacoteca. Virgin adoring the new-born
Infant.
Florence. Vfflzi. The Nativity.
„ „ Holy Family.
„ „ The Circumcision.
Hague; Massacre of the Innocents. 1548.
London. Nat. Gal. Virgin, Child, and Saints.
„ „ Holy Family.
„ „ The Woman taken in Adultery.
Paris. Louvre. Holy Family^
„ „ Christ preaching to the Multitude.
MAZZONI, Cesare Giuseppe, was born at
Bologna in 1678, and was a scholar of Lorenzo
Pasinelli, and afterwards of the younger dal Sole.
There are several of his works in the churches
and public edifices at Bologna, which prove him to
'have been a respectable painter of history. He
died in 1763. His best works are :
In San Colombano, Bologna, an altar-piece.
In San Tommaso di Strada Maggiore, a ' Crucifixion.'
In San Giovanni in Monte, a ' St. Peter delivered from
Prison.'
MAZZONI, GiULio, was a native of Piacenza,
but studied at Rome under Daniele da Volterra,
and flourished about the year 1568. He is men-
tioned by Vasari, in the life of that master, as a
127
Mazzoui
A BIOGRAPHICAL DICTIONARY OF
SCazzuola
painter of considerable merit. His principal work
is the ' Four Evangelists ' in the cathedral at
Piacenza.
MAZZONI, Sebastiano, was born at- Florence
about 1615. He removed to Venice, where, after
a life of some local success, he died near the end
of the century.
MAZZDCHELLl, Pietro Francesco, called II
MoBAzzoNE (MoRANzoNB, Or Marazzone), was born
at Morazzone, in the Milanese, in 1571, and is
generally called from the place of his nativity.
He resided at Rome in the early part of his life,
where he painted for the church of Santa Maria
Maddalena al Corso, the 'Assumption of the
Virgin, with the Apostles,' and for San Silvestro
in Capite, the ' Adoration of the Magi.' He after-
wards went to Venice, where he studied the works
of Titian, Tintoretto, and Paolo Veronese, by which
he greatly improved his colour; and on going to
Milan he painted the ' Adoration of the Kings,' for
the church of Sant' Antonio Abate, in a style so
superior to the picture of the same subject he had
painted at Rome, that it appeared to be by a
different hand. At Como, in the church of San
Giovanni, is one of his principal works, representing
'St. Michael discomfiting the rebel Angels.' He
was employed and patronized by the King of
Sardinia, by whom he was knighted. In 1626 he
was invited to Piacenza to paint the great cupola
of the cathedral, which he only lived to commence.
He died the same year, and his work was finished
by Guercino.
MAZZUOLA, Annibale, a native of Siena, was a
painter of history. He passed his life in Rome,
where he died in 1743.
MAZZUOLA, FiLlPPO, was born at Parma in
the latter part of the 15th century, and was some-
times called ' Filippo dall' Erbette,' from a habit he
had of introducing plants into his pictures. He
was the father of Parmigiano. The Gallery of
Parma possesses a ' Virgin and Child, between
SS. Francis and John the Baptist,' painted by him
in 1491 ; at the Palazzo Vescovile, in the same
city, is a ' Baptism of Christ,' dated 1493. In tlie
year 1500 he completed the 'Dead Christ, with the
Virgin, and SS. Magdalene, Catharine, Monica,
AppoUonia, and Barbara,' now in the Naples
Museum. The Brera, Milan, and the Doria Gallery,
Rome, both possess portraits of men by Mazzuola.
His death occurred in 1505. Additional works by
him are :
Berlin. Musmm. Virgin and Child between SS.
Catharine and Chiara. 1502.
„ Saczynald Coll. Bust of Christ. 1504.
MAZZUOLA, Francesco, (Mazzola, MAzznoLi,
Mazzoli, Parmigianino, &c.,) called II Parmigiano,
was the son of Filippo Mazzuola, and was born at
Parma in 1504. His father dying when he was
very young, he was brought up under his uncles,
MioHELE and Pier Ilario Mazzuola, who taught
him what they knew of the art, and curious tales
are told of his precocity. Surrounded by the pro-
ductions of Correggio, he studied them with
attention and success. His earliest works were
entirely in the style of that painter ; among them
we may name a ' St. Bernardo ' at the Osservanti at
Parma, and the 'Holy Family' in the collection of
the Presidente Bertioli. The desire of seeing the
works of Michelangelo and Raphael led him to
Rome when he was twenty years of age, and there
his talents recommended him to the notice of
128
Clement VII., for whom he painted a picture of
the ' Circumcision ' for the palace of the Vatican.
He improved his taste by the help of Raphael, and
his energy by that of Buonarroti. Vasari reports
that it was said at Rome " that the soul of Raphael
had passed into the person of Parmigiano." Maz-
zuola was high in his patron's favour, and in the
public esteem, when his career was interrupted by
the sacking of Rome in 1527. This event obliged
him to take refuge at Bologna, where he painted
some altar-pieces for the churches, among which
was the ' Virgin and Infant Christ, with St. John,
St. Margaret, and St. Jerome,' in Santa Margherita,
now in the Louvre. The church of San Petronio
possesses a ' St. Roch,' a noble and dignified
performance. On his return to Parma he was
engaged to decorate in fresco the vault of La
Madonna della Steccata, where he painted ' Adam \
and Eve,' and his famous chiaroscuro of 'Moses
breaking the Tables of the Law,' which is one of
the chief productions of the school to which it
belongs. Of his easel pictures one of the best is
the ' Virgin and Infant, with St. Catharine, St.
John, and St. Jerome,' in the Florentine Gallery, of
which there are several repetitions. Another good
picture by him, representing the ' Virgin and Child,
with Mary Magdalene and Angels,' called ' La
Madonna del collo lungo,' is now in the Pitti
Gallery at Florence. Lastly we may name the
' Vision of St. Jerome,' in the National Gallery, as
also among his finest works. Parmigiano was
unfortunately addicted to alchemy, and wasted his
substance and health in the absurd pursuit of the
philosopher's stone. This fatal infatuation occa-
sioned him to neglect, and at last to abandon, the
important works he was engaged on at the Steccata,
and having received several sums of money in
advance, he was prosecuted by the confraternity.
He fled to Casal Maggiore, where he died in 1540 of
a fever, brought on by disappointment and chagrin,
at the age of thirty-six. The following are the
chief works of Parmigiano to which we can point :
Berlin. Baptism of Christ.
Bologna. Pinacoteca. Virgin, Child, and Saints,
„ „ St. Margaret.
„ „ Mary and Martha.
Brussels. Holy Family.
Dresden. Museum. Virgin and Child adored by
Saints.
„ „ Virgin with the Child holding a
Rose {Madonna della Bosa).
„ „ Ganymede.
Florence. Pitti Pal. La Madonna del collo lungo.
„ TPffizi. His own portrait.
„ „ Holy Family of the Tribune.
Genoa. Museum. Marriage of St. Catharine.
London. Nat. Gallery. The Vision of St. Jerome.
Madrid. Museum. Holy Family.
Modena. Museum. Apollo and Marsyas,
Naples. Museum,. The Annunciation.
„ „ Holy Faraily.
„ „ St. Sebastian.
„ „ Lucretia.
Paris. Louvre. Holy Family, with St. John.
„ „ Holy Family, with SS. Margaret,
Benedict, and Jerome.
Parma. Ch. de la ) Frescoes — Moses, and Adam and
Steccata. j Eve.
„ iS. Annunziata. Baptism of Christ.
„ ,, St. Bernardino.
„ „ Holy Family.
„ „ Entry of Christ into Jerusalem.
Fetershrag. Hermitage. An Entombment.
Rome. The Virgin.
„ St. John the Baptist.
„ Borghese. St. Catharine.
Hazzuola
Vienna.
PAINTEES AND ENGRAVERS.
IXechel
Belvedere. Cupid mending his Bow.
„ „ St. Catharine.
„ ,, Portrait of MalatestaBaglioni(?)
» „ Three male portraits.
As an engrav.er Francesco Mazzuola has been
erroneously supposed to have been the inventor of
etcliing ; but it was practised in Germany a con-
siderable time before him, though he is considered
as the first artist who wielded the point in Italy.
This Js rendered extremely probaible, by the diffi-
culty he appears to have laboured under in the
mechanical part of the execution of some of his
first prints. His plates are scratched in with the
point, and being sometimes not well bitten, are
coarsely retouched with the burin. From his in-
experience in the process, his earliest etchings are
seldom clear or perfect, but some of those executed
in the latter part of his life are better. These de-
fects are, however, amply compensated by the
tasteful arrangement of his subjects, and the spirit
and animation of his design. It is very difficult
to meet with fine impressions of his prints, as the
plates have been much retouched. We have a
number of wood-cuts from his designs, printed in
chiaroscuro, which have been incorrectly said to
have been executed by himself ; but it is now well
known that he only superintended their execution
by Ugo da Carpi, Andrea Andreani, and others,
including Antonio da Trento, who robbed him of
his designs, which were eventually found by Count
Antonio Maria Zanetti in the possession of the Earl
of Arundel in London, and taken to Italy. He
signed his works F. P., F. P. F, F. Farm., &c.,
or with a monogram. We have the following
etchings, by Parmigiano :
Hoses and the Burning Bush ; supposed to have been
his first plate.
Judith with the Head of Holofernes.
Joseph and Potiphar's "Wife.
The Nativity.
The Marriage of St. Catherine.
The Holy Family, with St. John presenting a Basket
of Flowers.
The Holy Family, with Zacharias.
Another Holy Family, with St. John embracing the
Infant Jesus.
The Entombment. Guido has copied this print.
The Resurrection, with several Soldiers.
A Man and a Woman seated iu a landscape.
A Mother instructing her four Daughters.
A Shepherd resting on his Crook.
Diogenes seated near his Tub. There is a chiaroscuro
cut of this by Uyo da Carpi.
St. Peter and St. Paul healing the lame Man ; after
Eaphael ; fine.
A set of thirteen plates of Christ and the Apostles.
MAZZUOLA, GiEOLAMO, whose real name was
Bedolo, but who took the name of his father-in-
law, Pietro Ilario Mazzuoli, was born- at San
Lazzaro, near Parma, in the first half of the 16tli
century. He studied under his cousin Parmigiano,
and became an imitator of his style. Works by
him are to be seen in the Galleries of Berlin,
Dresden, Paris, and Parma. He was still living
at Parma in 1666, but apparently died soon after-
wards. His son Alessandro, who died in 1608,
was a feeble imitator of his father.
MAZZUOLI, Giuseppe, called II Bastardolo,
was born at Ferrara about the j'ear 1525, and was
a fellow-student with Giovanni Francesco Surchi,
in the school of Dosso Dossi. He acquired the
name of II Bastaruolo from the profession of his
father, who was a dealer in grain. His pictures
VOL. II. K
were in such estimation, that there is scarcely a
public building in his native city which does not
possess some works of his. In the cathedral there
is a fine picture of the ' Virgin and Child, with
Angels'; in San Maurelio an ' Ascension,' one of his
best works ; in the Jesuits' Church, an ' Annuncia-
tion,' and a 'Madonna, with Mary Magdalene and St.
John ' ; but perhaps his best known performance
is a ' St. Barbara and St. Ursula,' with a number of
female figures, in the Conservatorio of St. Barbara.
Giuseppe (he has sometimes been erroneously
called Filippo) was drowned in the Po in 1689.
MEADOWS, Egbert Mitchell, an English en-
graver in the second half of the 18th century,
who published some lectures on engraving. He
worked for Boydell's ' Shakespeare Gallery,' and
there are plates by him after Westall, Hamilton,
Lawrence, &c. He was already dead in 1812.
MECARINO, IL. See Beccafumi.
MECHAU, Jakob Wilhelm, a German painter
and engraver, was born at Leipsic in 1745. He
was for some time a pupil of Bernard Bode and Le
Sueur, at Berlin, and afterwards frequented the
Academy at Leipsic, where he studied under
Casanova. In 1776 he went to Rome, and im-
proved his style by studying the works of Claude
de Lorrain and Philipp Hackert. On his return to
his native city in 1780 he became a member of
the Academy, and after a second visit to Rome
in 1790 he settled at Dresden, where he died in
1808. He painted history and landscapes, in which
he acquired considerable reputation in Germany.
The following are among his works :
View of Castel Gandolfo.
Landscape near the Tiber, with Cincinnatus.
The Flight into Egypt.
He is, however, more generally known as an en-
graver. He etched several plates, some of which
are from his own designs, and engraved a variety
of views in Italy in aquatint. Among others, we
have the following prints by him :
St. Michael vanquishing the Demon ; Mechau fee. aqua
forti.
The ilesurrectiou of Lazarus. Median fee. 1761.
The Adoration of the Shepherds ; after C. Schut.
A Dance of Nymphs and Fauns ; after Giulio Carpioni.
A set of six Italian Landscapes ; in the style of Swanevelt.
1792.
A set of six Views in and near Rome. 1792, 1793.
He signed his prints J. M. /., or M inv. ac de
G. So. {Mechau invenif ac De Geyser sculpsit).
MECKEL, Christian von, was a native of Basle,
in Switzerland, where he was born in 1737. After
studying under various German masters he visited
Paris in 1767, and, eight years later, went to Italy,
where he was received a member of the Academy
at Florence. Subsequently he returned to his
native country and settled at Basle, carrying on
considerable business as a dealer in works of art.
In 1806 he was elected a member of the Academy
at Beriin, where he died in 1815. The following
are among his best plates :
portraits.
The Eraperor Joseph II. on horseback, reviewing his
troops ; after J. C. Brand.
Frederick II. King of Prussia, on horseback; the
companion.
General Elliot, Lord Heathfield.
Caspar Lavater. •
Michel Nostradamus.
His own Portrait.
129
Mechelen
A BIOGRAPHICAL DICTIONARY OF
Kedina
SUBJECTS.
An old Man mending a Pen ; after Metsu.
Cupid shooting an Arrow ; after Carlo van Loo.
Four Views of the Khiue ; after Brinkmann and
Weiroiter.
MECHELEN, Jan van, a Fletnish painter who
flourished in the 17th century. He was a pupil of
Sohoof. He was made master of the Guild at
Antwerp in 1609, and he is named for the last
time in 1627-8.
MECHELN. The name of this artist is affixed
to a portrait of Pope Urban VIII., dated 1623.
MECHOPHANES, an ancient Greek painter,
was a disciple of Pausias. His manner, we are
told, was dry and hard, but this defect was in a
great degree compensated by extreme correctness
of desig'i.
MEOKENEN, Israel von, (Mecken, Meck,
Meoheln, Mbestee, Mekbnick, Metro, Mentz,
Van Mechelen, Db Malines, Mechliensis, De
Mayencb, Moguntius, Db Munstee). There were
two artists of this name, father and son, both of
whom lived at Bocholt, wliere they had the right
of citizenship. The father was probably born at
Meclieln, a small village between Zutphen and
Cleves, about 1440. He was a goldsmith and en-
graver, while his son was a painter and engraver.
In Bocholt is a tomb bearing the name of Israel,
and the date March 13, 1503. This is generally
assigned to the son, but Kramm mentions an en-
graving bearing the date 1517. In the annals of
the town of Bocholt there are records of Meokenen
from 1482 to 1498, one of which spealts of Ida as
the wife of Israel. As engravers father and son
probably worked together. It has not been found
practicable to distinguish precisely the prints of
the elder Meckenen from those of his son. M.
Heineken estimates the number of their prints at
about two hundred and fifty. They are usually
signed with the initials I. M. or I. V. M. or Israhel
V. M., or sometimes at length, Israhel van Mehenen
Goldschmit, or Israhel tzu Bxldiolt ; the letters in
the Gothic character. The younger one seems to
have been the painter.
The Britisli Museum possesses a very fine set of
their engravings, which fills three volumes. The
series known as the ' Life of the Virgin ' is con-
sidered their best work. There are also four
drawings in the British Museum :
A Group of six draped Female Figures.
A Man standing with a Book ia his hand.
An Entombment.
A Holy Family.
The following are among their most remarkable
prints :
The Portrait of Israel von Meckenen the elder, with
a beard, and a kind of turban ; signed Israhel von
Meckenen Goldschmit.
The Portraits of Israel von Meckenen the younger and
his "Wife ; inscribed Figuracio faderum Isralielis et
Idm Uxoris, I. V. M.
A set of Prints of the Life of Christ. These, as well as
the two followimj prints, are supposed to be some of the
earliest works of the elder Mecheln.
The Descent of the Holy Ghost.
St. Luke painting the Virgin.
Judith with the Head of Holoferues. In the back-
ground is a battle, with cannons, and other warlike
instruments.
The Death of the Virgin.
The Virgin standing upon a Crescent, crowned by
Angels.
The Annunciation ; the Augel holds a Scroll, on which
is inscribed A VE. GRA.
130
The Virgin seated, in a landscape, embracing the Infant,
and St. Joseph reposing. On the right of the print
is a Grasshopper, on which account it is called the
' Virgin with the Grasshopper.' The same subject has
been engraved by Albrecht Diirer, and copied from
him by Marc Antonio.
The Virgin and Infant surrounded by four Angels. 1480.
The Virgin seated, holding the Infant, with a garden-
wall in the background, inscribed in Gothic letters,
Ave potissima Maria. The same is engraved by
Sehongauer.
The Feast of Herod ; Herodias with the Head of St. John.
Herod's Cruelty.
Christ bearing His Cross.
The Scoirrging of Christ.
The Crucifixion ; Israhel, M. ; with a light ground.
The Crucifixion ; Israhel, V. M. ; with a dark ground.
St. Georgj and the Dragon ; I. V. M.
St. Jerome seated in a room, pointing to a Skull which
lies on the table. This is considered one of their best
prints. It has been copied by Lucas van L?yden.
St. Anthony tormented by Devils. The same subject is
engraved by Martin Schongauet.
The Death of Lueretia.
A Man and a "Woman walking,- with Death behind a
tree, shaking an hour-glass. This print has been
copied by Albrecht Diirer and others.
Several single Figures of male and female Saints.
A "Woman singing, and a Man playing on the Lute.
A Man playing on the Organ.
Three naked Women, with a Globe hanging above
them. Albrecht Diirer and others have copied this
print.
A Man holding a Skull, inscribed Respicefinem.
A Cup, richly ornamented. The same has been en-
graved by Sehongauer.
A variety of goldsmith's ornaments, and a great number
of other subjects.
MEDA, GiDSEPPE, a Milanese painter, who
flourished at the end of the 16th century. He
seems to have been a pupil of B. Cnmpi, but he
gained more reputation as an architect than as a
painter.
MEDICI, PlETRO, was born at Florence in 1586,
and was a scholar of Lodovico Cardi, called Cigoli.
By the instruction of that master, he became a
reputable painter of history, and was the author of
several altar-pieces for the churches at Florence.
He died in 1648.
MEDINA, Andres de, was a painter of Se"ville,
and a disciple of Juan del Castillo. He etched
several sacred subjects, amongst others, in 1663,
the image of our Lady ' de la Soterrana,' in the
church of St. Nicolas at Seville. Medina died in
1663.
MEDINA, John, portrait painter, born in 1721.
He was a grandson of Sir J. B. Medina, and prac-
tised in Edinburgh and London. Copying and
picture-cleaning occupied much of his time. He
died at Edinburgh in 1796.
MEDINA, Sir John Baptist, the son of Medina
de I'Asturias, a captain in the Spanish service, was
born at Brussels in 1660. He was a scholar of
Frangois Duchastel, and afterwards improved him-
self by studying the works of Rubens. When he
was twenty-six years of age he came to England,
and for a time painted portraits with some slight
success. He was invited to visit Scotland, under
the patronage of the Earl of Leven, who procured
him many commissions ; and he painted the por-
traits of many of the Scotch nobles. At "Went-
worth Castle there is a large picture of the first
Duke of Argyll, with his two sons, John and Archi-
bald. The portrait of Medina, by himself; was
sent to the Grand Duke of Tuscany by the Duke of
Gordon, and was placed in the Florentine Gallery.
He occasionally painted history and landscapes,
lledina
PAINTERS AND ENGEAVERS.
Mei
and the plates in a folio edition of ' Paradise Lost '
(1688) were designed by him. Medina was knighted
by the Duke of Queensberry, when Lord High
Commissioner. He died at Edinbm-gh in 1711.
Some of his portraits have been engraved.
MEDINA, MoiSB Casimie, a portrait painter,
was born at San Felipe in 1671, and died at
Valencia in 1748. In early life he painted history,
but without success.
MEDINA T VALBUBNA, Pedro db, was a
painter of Seville about 1620. He was a pupil of
Juan del Castillo, and friend and fellow-pupil of
Murillo, whom he assisted in forming the Academy
of Seville, in which he afterwards tilled various
offices. He painted and gilded several retablos,
and being dexterous in water-colours, he executed
in 1673-4 many flags for the royal fleet of New
Spain. The year of his deatli is unknown.
MEDLAND, Thomas, an English engraver in
the latter part of the 18th and the beginning of
the 19th centuries. He was chiefly engaged on
landscape and topography, and occasionally ex-
hibited at the Royal Academy up to 1822. In his
latter years he taught drawing at the East India
College, Hertford. Of his works we may name :
' Views iu Cumberland and "Westmoreland.' 1789.
' Cities and Castles of England.' 1791.
' Eobinson Crusoe,' illustrated by Stothard. 1798.
' Select Views in London and Westminster.' 1800.
Barrow's 'Embassy of Lord Macartney to China.'
1804.
Sir W. Cell's ' Topography of Troy.' 1804.
' Egyptian Monuments in the British Museum.' 1805.
MEDLEY, Samuel, a painter, was born at Liver-
pool in 1769. He was a follower of Reynolds and
Gainsborough. In 1811 he had to abandon art by
medical advice. He died in 1857. Some of his
works were exhibited in the Royal Academy. He
painted the picture representing the Medical Society
of London in Session ; Dr. Lettsora speaking, and
Jenner, the discoverer of vaccination, in the back-
ground, whicli now hangs in the Society's Rooms
in Chandos St., Cavendish Square.
MEDOLLA. See Meldolla.
MEE, (Mrs.) Anne, an English miniature painter,
born in the last half of the 18th century. She was
the daughter of John Foldsone, a painter, who died
young, and through an unfortunate marriage had
to work to support her family. Her works appeared
at the Academy from 1815 to 1836. She obtained
a good practice,.and had many commissions from
George IV. She died, very old, in 1851.
MEEN, Makgaeet, an English flower painter in
water-colours in the second half of the 18th cen-
tury. Her works appeared at the Academy from
1776 to 1785. There is a flower-piece by her,
dated 1806, at the South Kensington Museum.
Her work shows considerable vigour and ability.
MEEL, Jan. See Mibl.
MEELE, Matthiaus, a portrait painter, born
at the Hague in 1664, was for some time in England,
and practised under Sir Peter Lely. On his return
to tiie Hague he was appointed one of the prin-
cipals of the Academy, and died there in 1714.
MEER, Van dee, (Meeee, Meirb, Meeren,)
Babend, (Beenhaed,) Cathaeina, Jacob, Jan 'the
elder ' (of Haarlem), Johannes (of Utrecht), and
N., see Van dee Mebr ; Jan (of Delft), see Vee
Meer; Geeaed and Jan ' the younger' (of Ghent
and of Haarlem), see Van dee Meiee.
MEEREN. See Van dee Meeren.
MEERKERK, Dirk van, painter, was bom at
K 2
Gouda in 1702. He studied in Italy, and after-
wards went to France, where he entered the service
of the Bishop of Nantes.
MEERSCH. See Van dee Meeesch.
MEERT, Pieter, (or Meeete,) was born at
Brussels in 1619, for we are told in the Gulden
Cabinet of De Bie, that he was forty-two when
that was published, in 1661. Meert had a consider-
able reputation as a portrait painter, imitating the
style of Van Dyck. He died at Brussels in 1669.
In the Museum at Brussels there is a fine group
of portraits by him. Others of his works are in
the halls of the city guilds. A ' Sea Captain with
his Wife sitting on the Seashore,' in the Berlin
Museum, is perhaps the best of his known works.
MEBRTENS, Abeaham, (Mebete and Meeten,)
a painter, born at Middlebourg in 1757. He painted
birds, flowers, and landscapes, and was one of the
original founders of the Academy of his native
town. He died in 1823.
MEGAN, R. or P., a German landscape painter,
who flourished at Vienna in the 16th century. The
Belvedere possesses several landscapes by him.
MEGEN, Pieter Wilhelm van, engraver, was
born at the Hague in 1750. He studied under
Schoumann and Duboulnois, and in 1772 went to
Paris, where he worked for two years under Le Bas
and J. G. Wille. He died in 1785.
MEGLIO. See Coppi.
MEHEUX, Jacob, was a native of Holland, and
flourished about the year 1680. He engraved some
plates in mezzotint, among which is a copy of the
print of the ' Ratcatcher,' by Cornells Visscher.
MEHEUX, Feancis, an English engraver, born
at Dover in 1644. He practised in mezzotint as
well as with the graver.
MEHEUX, John, an English painter of the 18th
century, after whom William Blake engraved
' Clorinda ' and ' Robin Hood.'
MEHLEM. See Melem.
MEHUS, LlEVEN, (or Meus,) was born at Oude-
narde in 1630. The troubles which soon afterwards
took place there obliged his family to leave Flan-
ders, and they settled at Milan, where he received
some instruction from the Flemish artist named
Carlo, then resident in that city. At an early age
he visited Florence, where he was placed under the
tuition of Pietro da Cortona, who was at that time
employed by the Grand Duke Ferdinand II. in
the Palazzo Pitti. After a time he left Florence
secretly, and entering the army of Christine of
Sa\'oy, he served tliree years as a soldier. On his
return to Florence lie was again taken under the
protection of the Duke, and, later on, was employed
by the Marquis Gerini to ornament his palace, in
conjunction with Ciro Ferri, who had been his
fellow-student under Pietro da Cortona. Here he
painted his ' Bacchus and Ariadne.' Although ho
was more engaged on the palaces than the churches,
he was chosen to paint the dome of La Pace, in
which he acquitted himself with credit. He was
afterwards employed in the Pal.izzo Pitti, where
he painted a ' Sacrifice of Abraham.' The auto-
graph portrait of Mehus is in the. collection of
Painters in the Florentine Gallery. He died at
Florence in 1691.
MEI, BeeKardino, was a native of Siena, and
flourished from the year 1636 till 1676. It is not
known under whom he studied, but the Padre della
Valle, who had seen several of his works, says his
style sometimes resembles that of the Carraoci, and
sometimes of Guercino. There are some of his
131
Meichoner
A BIOGRAPHICAL DICTIONARY OF
Uelar
pictures in the churches at Siena. One of his best
performances is a ceiling in fresco, an 'Aurora,'
in the Casa Bandinelli. He died at Rome.
MBICHONER, Johann Nepomuok, was bom at
Engen in Austria in 1739. He studied at the
Academy at Vienna, and afterwards went to Ulm.
He established himself as a portrait painter at
Sollingen, where he died in 1815.
MEIGEL, Christoph, was a German engraver,
who resided at Nuremberg, where he engraved and
published a folio volume of prints in 1730, repre-
senting the follies of people of all professions.
MEIGHAN, R., was an English engraver and
bookseller, who flourished in the early part of
the 17th century, and carried on business in St.
Dunstau's Churchyard.
MEIL, Johann Hbinrioh, brother of Johann
Wilhelm Meil, was born at Gotha in 1729. After
spending twenty years at Leipsio he removed to
Berlin in 1774, and became a member of the
Academy of Arts. He furnished designs for the
fables of La Fontaine and Gellert, the poems of
Burger, &o. He died in 1803.
MEIL, Johann Wilhelm, a German designer and
engraver, was born at Altenbourg in 1733. He
first studied the sciences, but on visiting Berlin he
conceived a strong preference for art, and zealously
took to the practice of drawing and painting and
the use of the graver. He was for the most
part his own instructor, and engraved 667 vignettes
and book ornaments, from his own designs, also
numerous other plates, in a neat, spirited style, in
which he appears to have been emulous of imitating
the works of Delia Bella. He was highly esteemed
in the theatre at Berlin for his knowledge of cos-
tumes. Tlie design ' A Sailor Drinking ' exists in
a wood-cut by J. F. Unger. His works are signed
with J. W. M., J. W. M. inv, or a monogram.
In 1791 he was rector, and in 1798 vice-director, of
the Academy at Berlin. He died there in 1805.
Among a variety of other prints we have the
following by him :
A set of eight small plates of Heads and Caricatures ;
sca7'ce.
Four of Quack-doctors and Ballad-singers; in the
manner of Dietrich.
A set of ten Vignettes for the Poem of ' Joseph,' by
BitaubS.
Twelve Allegorical Vignettes.
Hercules playing on the Lyre.
A set of four Landscapes, with figures.
Fifty-two subjects, entitled ' Speotaculum Naturae et
Arfcium ' ; published at Berlin in 1765.
The portraits of the most learned men and artists.
1780.
MEIRERPECK, M. Wolfgang, was a German
draughtsman and engraver on wood, who flourished
about the year 1550. In conjunction with G. Liberal
he designed and executed the wood-cuts for the
' Commentaries of Matthiolus on Dioscorides,'
published at Venice in Latin in 1548, and in
Germany in the Bohemian language in 1560.
MEIS, B., is mentioned by Strutt as the etcher
of a plate representing a poet writing.
MEISSEN, Agnes von. See Agnes.
MEISSONIER, Juste Aur^lEj painter, sculptor,
architect, and goldsmith, was born at Turin in
1675. He went to Paris, where he carried on his
different professions, but it was chiefly as a gold-
smith and decorator that he gained his reputation.
He died in Paris in 1750.
MEISTER, Simon, born at Coblenz in 1803, was
a disciple of H. Vernet. He established himself
132
at Cologne in 1833, and distinguished himself as a
painter of battles, animals, and portraits, which
are carried out vnth vigour, but with some loose-
ness of hand. He died at Cologne in 1844. Tlie
Wallraf Reichartz Museum at Cologne contains by
him :
The Portrait of King William IV. of Prussia, as Crown
Prince {lithographed by J, B. HUtzer).
Lions Fighting.
He generally signed with his full name, but also
with a monogram. His brother Nicolas Meisi'EB
was also a painter, and assisted him in his work.
MEITENS. See Mttbns.
MEIXNER, Lddwig, was bom at Munich in
1828, and instructed by Stange. He travelled in
Sweden, and distinguished himself as a painter of
sea and shore pieces, both in oil and water-colour.
He died at Graz in 1872. Among his best works
are :
Lake Constance with a cloudy sky. ,
A Moonlight Night on the Swedish shore.
Landscape with the Moon rising.
Sketch on the Untersberg.
Vohring, near Munich.
Sketch from the English Garden at Munich.
Venice.
MEL, Giovanni da, was the son of Antonio
Rosso, and was living at Cadore and Belluno in
the 16th century. His earliest picture is dated
1521 ; he was still at Belluno in 1648. The dates
of his birth and death are both uncertain. Messrs.
Crowe and Cavalcasselle assign to Giovanni the
frescoes in the choir of San Lorenzo at Selva di
Cadore, which are dated 1544. '
MELA, Antonio, was a native of Verona, bom
in 1700. He was a pupil of Prunati, and with him
painted several historical pictures. He also painted
altar-pieces. He died in 1742.
MELAN. See Mellan.
MELANI, Giuseppe and Francesco, born at
Pisa about 1680. These brothers were n.atives of
Pisa. Giuseppe, a scholar of Camillo Gabrielli,
was a reputable painter of history, as is evident
from his large picture in oil of tJie ' Death of S.
Ranieri,' in the cathedral at Pisa. His chief merit
is in fresco painting, in which he never appears to
more advantage than when he paints the figures
in the architectural views of his brother Francesco,
which are modelled on the style of Pietro da
Cortona. Francesco was esteemed one of the
ablest painters of perspective of his time. The
best-known performance of the brothers is the
vault of San Matteo at Pisa. Francesco died in
1742 ; Giuseppe in 1747.
MELANO. See Jacobini, Giov.
MELANTHIDS, (or Melanthus,) a pupil of
Pamphilus and Apelles, is said by Pliny to have
painted in only four colours. He is also men-
tioned by Plutarch and Quintilian. His school
was frequented by numerous disciples, and he
wrote some treatises on art.
MELANZIO was a local painter of Montefalco,
and one of Perugino's pupils. Of his biith and
death nothing is known. He was a fourth-rate
artist, of whose paintings examples may be seen
in the cathedral at Montefalco, and in the monas-
tery of Subiaco.
MELAR, Adrian, was a Flemish engraver, who
resided at Antwerp about the year 1650. He
attempted to imitate the style of Paul Pontius,
but with very little success. We have several
portraits by him, among which are Charles I. of
Melbogi
PAINTERS AND ENGRAVERS.
HeldoUa
Spain, and Frederick III. of Denmark. He alao
engraved a plate representing ' St. Michael over-
coming the Evil Spirit,' after Rubens.
MELBOGI. See Gossaeet.
MELBYE, D. H. Anton, a Danish marine painter,
born at Copenhagen in 1818. He vjras originally a
shipwright, then became a musician, and finally
devoted himself to painting, studying under Eckers-
herg at Diisseldorf. In 1840 lie first exliibited three
pictures at Chnrlottenburg, and gained the patron-
age of Christian VI. He migrated in 1847 to
Paris, where he attracted the notice of Louis
Philippe, and in 1853 made his way to Constanti-
nople, where he was employed by the Sultan.
Returning to Prance he gained the favour of
Napoleon III., from whom he received the Legion
of Honour in 1854. He died in Paris in 1875.
Among his works are :
Copenhagen. Gallery. The Eddystone Lighthouse.
1846.
„ „ Sea-fight between Danes and
Swedes in 1677 at Kioga,
1855.
Stockholm. National \ The French Steamer ' Le For-
Gallery. J fait.' 1866.
MELCHIOR, Heineich Anton, son of Johann
Peter Melohior the architect, studied first at the
Academy of Munich, and afterwards went to
Berlin, where he won the Academy prize with
his allegory of the peace between France and
Prussia. He died young in 1796.
MELCHIOR, WiLHBLM, born at Nymphenburg
in 1813. was an excellent painter of animals and
of hunting parties. One of his best pictures
represents a cat, which has crept up to a plate
of fish, gripped by the head in the claws of a crab.
Other pictures are in the new Pinacothek at
Munich. Melohior died at Munich in 1860. His
brother Josef, who was born in 1810, had some
repute as a painter of horses.
MELCHIORI, Giovanni Paolo, was born at
Rome in 1664, and was brought up in the school
of Carlo Maratti. He painted historical subjects,
and was employed for some of the public edifices
at Rome. His most esteemed work is his picture
of the prophet Ezekiel, in the Lateran Church.
He was living in 1718.
MELCHIORI, Melchioe, an obscure painter of
history, who was born at Castelfranco in 1641. He
worked at Venice and Castelfranco, and died in
1686.
MELDEMANN, Nicolaus, flourished at Nurem-
berg in 1529-32, and was a card painter and wood
engraver.
MBLDER, Gebaed, was bom at Amsterdam in
1693. He showed an early inclination for art, and
when a boy neglected the usual amusements of
his age to devote his time to drawing. He
acquired some miniatures by Rosalba Carriera,
and by copying and imitating them, he arrived
at great proficiency in that branch of painting.
His productions are landscapes (sea-coasts and
mountaihs) in water-oolour and Indian ink. He
also drew the portraits of many of the principal
persons of his time, and was especially noted for
his miniatures in enamel, both original and after
Dou and Van der Werff. He died at Utrecht in
1754.
MELDOLLA, Andeea, (or Medcla,) called II
ScHiAVONE, was bom at Sebenico, in Dalmatia, in
1522. He painted portraits, history and historical
genre, and decorative compositions, in a style
which bears strong traces of the influence of
Titian, Tintoretto, and Giorgione. It is said that
by Titian Meldolla was rescued from obscurity,
and put in a way to reach the success of his later
years. He was a good colourist and a man of
considerable imagination, but his works suffer
froni hasty composition and weak drawing. One
of his best pictures is the ' Birth of Jupiter ' in the
possession of the Earl of Wemyss. Schiavone
d.ied in 1582. The following list includes the more
accessible of his good works :
Berlin.
Dresden.
Florence
Uffizi
j»
n
Munich.
Paris.
Venice.
Old Pinacothek.
Louvre.
Academia.
»
n
>*
»
Vienna.
Belvedere.
The Parable of the Unrighteous
Steward.
The Parable of the Vineyard.
Mountain Landscape.
Forest Landscape.
A Dead Christ, with an Angel
and St. Joseph of Arimathea.
Madonna and Child, and St.
John.
Adoration of the Sh^herds.
Man's Portrait.
Supper at Emmaus (?)
Parnassus.
St. John the Baptist.
The Circumcision.
Landscape.
Christ before Pilate.
A Holy Conversation.
Holy Family, with St. John and
St. Catherine.
Adoration of the Shepherds.
Christ before Caiaphas.
Apollo and Daphne.
Dentatus and the Samnites.
Five Allegorical Compositions.
MELDOLLA, Andeea, an Italian designer and
engraver, who flourished between 1640 and 1550.
There has been much discussion respecting his
works, but very little has been accurately ascer-
tained of his history. Until a recent period the
etchings now allowed to be by him were attributed
to Andrea Meldolla, called Schiavone ; or to Fran-
cesco Mazzuola (Parmigiano), because the greater
number of them are evidently from pictures or
drawings by that painter. Zani claims the honour
of making the discovery that Meldolla was a
different artist from Schiavone or Parmigiano.
He establishes the fact that Meldolla was the en-
graver of the print of ' Heliodorus driven from
the Temple,' from a drawing by Parmigiano after
the painting by Raphael. He had heard in the
course of his researches respecting this master,
that an impression was in the possession of Count
Antonio Reniondini, which had the inscription
Andrea Sdavonus Meldola fecit. To ascertain the
fact he wrote to the Count, who replied, "It is
true that I possess the cited print of ' Heliodorus,'
but without the Sdavonus." Andrea's monogram
or other signature is often so slightly put in that
it is difficult to find. But sometimes the word
' Meldolla ' is very distinct, and in a few instances
'Andrea' also. The following list, with details
now omitted, was supplied by the late Messrs.
Smith to a former edition of this work. Down
to No. 87 it is arranged in the order of Bartsch.
It is now generally believed that the plates on
which Meldolla etched were of pewter, which will
account for the scratches and corrosions that appear
on the later impressions, and for the frequent
alterations made in the treatment of the subject
and the accessories.
133
MeldoUa
A BIOGRAPHICAL DICTIONARY OF
Meleun
{The figures in brackets give the number of states,
when more than one, for eachplate^
1. Jacob's Ladder.
2. Moses saved from the Nile (4).
3. God appearing to Moses (3).
4. Moses showing the Quails to the Israelites. First
state, a pure etching before the monogram ; second,
retouched all over.
5. The Annunciation.
6. The Nativity.
7. The three Kings (2).
8. The three Kings (2).
9. The Flight into Egypt
10. Presentation in the Temple (4).
11. Presentation in the Temple.
12. The Circumcision.
13. The Circumcision (3).
14. Jesus with the Woman on the Steps.
15. Christ healing the Sick.
16. Christ healing the Lepers.
17. The Entombment (4).
18. The Entombment (3).
19. The Entombment (2).
20. The miraculous Draught of Fishes (2).
21. St. Peter and St. John curing the Lame Man (3).
22. St. Paul preaching at Athens.
23. The Pentecost, or the Descent of the Holy Ghost (2).
24. The Saviour.
25. St. Peter.
26. St. Andrew.
27. St. James the Great.
28. St. John.
St. Phihp.
St. Bartholomew.
St. Matthew.
St. Thomas. Two variations.
St. James the Less. Profile.
St. Simon.
St. Judas Thaddeus.
36. St. Mathias.
37. St. Paul.,
38. The Saviour (2).
39. St. Peter.
39.* St. Peter. A repetition of the pre ceding.
40. St. Andrew.
41. St. James the Great.
42. St. John (3).
43. St. Philip (3).
44. St. Bartholomew.
44.* St. Bartholomew ; the same in design as the pre-
ceding, hut reversed.
45. St. Matthew (3).
46. St. Thomas.
46.* St. Thomas ; the same design as the preceding, Ivt
29.
30.
31.
32.
33.
34.
35.
Full-face figure.
47. St. James the Less.
48. St. Simon (2).
49. St. Judas Thaddeus*(2).
50. An anonymous Saint, as described by Bartsch.
60.* A Saint walking to the right, but having his head
inclined towards the left.
50.** Replica with variations of the last.
51. The Saviour, a repetition of No. 38, but with varia-
tions.
52. St. Andrew, a repetition of No. 40, the reverse way.
53. St. James the Great.
54. A Madonna (2).
55. The Christian Eeligion triumphant over Heresy (3).
56. The Marriage of St. Catharine (2).
57. The Virgin (2).
58. The Virgin surrounded by several Saints.
59. A similar design, but reversed (3).
60. A similar subject to the last.
61. The Holy Family (3).
62. The Infant Jesus in the Cradle surrounded by
Saints (2).
63. The Infant Jesus and St. John embracing in the
presence of several Saints (3).
64. Different Saints present at the Homage paid by St.
John to the Infant Jesus (2).
65. Saints adoring the Infant Jesus in His Cradle (2).
66. The Present of Flowers.
67. Heliodorus driven from the Temple ; after Ra-
phael (2).
134
68. Bellona. A back figure turned towards the right.
69. Diana.
70. The Coronation of Pegasus.
71. Mercury (2).
72. Hercules, Deianira, and Nessus.
73. Mars and Cupid.
74. Ganymede and Hebe (2).
75. Venus after Bathing.
76. Bellona (2) ; signed ^A/
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
90;
91.
92.
93.
94.
Bellona (2).
Mars.
Minerva and the Muses.
The Judgment of Paris (4).
The Eape of Helen (6) ; signei Andeea Mbldolui
In-Ventoe.
Virtue victorious over Vice.
A Prophet ; full length.
A "Woman carrying a Vase (2).
The same print as described No. 74.
A Woman accompanied by a Child.
A Woman writing.
Eleazar at the Well.
The Adoration of the Shepherds.
The Adoration of the Kings, a grand composition of
sixteen figures.
The Holy Family.
Marriage of St. Catherine.
The Holy Family.
Christ and His Disciples; signed with the monogram
w.
95. Christ healing the Lepers.
96. Boy bending a Bow.
97. Mars.
98. Return of the Prodigal Son (3) ; second state with
the monogram
M-
third, with monogram
jiP.
altered, thus :
Mercury (2).
Apollo and Daphne.
Apollo and Daphne (2).
Judith.
Judith (3).
St. James the Great (?).
St. Paul.
Nymphs Bathing (2).
Cupid, a whole-length figure walking.
Bellona, whole-length figure looking towards the
right.
Bellona ; the same design as the preceding, tut
reversed.
Virgin and Child with St. John.
Apollo and Python.
Diana.
Bellona, in profile, walking towards the left.
Female Figure walking.
Five Figures, in the centre a young woman.
Faith ; signed with the monogram /r\/l
Quos Ego. Neptune appeasing the storm ; copj/ of
the centre compartment of the celebrated print by
Marc Antonio.
St. Christopher.
Woman pouring Water from a Vase. (British
Museum.)
MELEAGBR. See Mommees.
MELEM, JoHANN VON, (or Mehlem,) painted in
Cologne during the first half of the 16th century.
It has been supposed that he was a native of the
village of Mehlem, near Bonn, and, from an in-
scription on his autograph portrait in the Munich
Gallery, that his birth took place in the year 1493.
He viras a pupil of Jan van Scorel. His only
authentic work is the portrait above alluded to.
MELEUN, Comte de. was a French amateur
engraver, mentioned by Basan. He lived about
the year 1760, and etched several small plates
after Berchem, Callot, and other masters.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
Melgarejo
PAINTERS AND KNGRAVERS.
Melluel
MELGAREJO, Fray Gebonimo, an Augustine
friar and painter of Granada, who flourished about
the middle of the 17th century, left in his convent
two pictures of which Cean Bermudez praises the
composition. The first represents four monks of
the order and sundry ecclesiastics, carrying the
bones of their patron saint in solemn procession.
MELINGUE, Etienne Maein, born at Caen in
1808, was an actor, sculptor, and painter. He died
at Veulles in Calvados in 1876.
MELINI, Caklo Domemico, (or Mellini,) was
an Italian engraver, born at Turin about the year
1745, but chiefly resident in Paris, where he became
a pupil of Beauvarlet. We have several plates by
him, among which are the following :
Portrait of the King of Sardinia.
The Children of the Prince of Turenne ; after Drouais.
La belle Source ; after Nattier.
The Education of Cupid ; after Lagrenee.
Morning, a landscape ; after Loutherhoarg.
MELISSI, Agostino, was a native of Florence,
and flourished about the year 1675. According to
Baldinucci he was much employed by the Grand
Duke in painting cartoons for tapestr3', from the
designs of Andrea del Sarto. He also painted
several pictures of his own composition ; among
which the above-mentioned author commends his
' Peter denying Christ,' in the Palazzo Qaburri.
MELLAN, Claude, (or Melan,) an eminent
French draughtsman and engraver, bom at Abbe-
ville about 1601. His disposition for art discover-
ing itself at an early age, he was sent to Paris,
where he studied under Simon Vouet. An inclina-
tion for engraving induced him to attempt the
management of the burin, which he soon handled
with extraordinary facility. He executed several
plates from the busts and statues in the Giustiniani
Collection. The greater part of his work at Rome
is in the usual manner, with the strokes crossed a
second and a third time, as the strength of the
shadows require. After his return to Paris he
adopted a novel and singular method of working,
with single parallel lines, without any cross strokes
over them, variety of light and shade being rendered
by variations in the thickness of the lines. By
this method he acquired considerable celebiity,
but his permanent success is, of course, to be attri-
buted to the dexterity with which he handled his
tools, rather than to the peculiarity of his process.
His 'Eebekah,' after Tintoretto, is full of colour;
it is evidently engraved from the work of a great
colourist; yet it is only in some of the accessories
that cross lines are introduced. . Mellan lived to
the advanced age of ninety, and died in Paris in
1688. The following are his best prints :
PORTRAITS.
Urban VIII. ; after Bernini. 1631.
Cardinal Bentivoglio.
The Marquis Giustiniani.
Anne of Austria, Queen of France.
Henry, Duke of Montmorency.
The Cardinal, Duke de Hichelieu.
The Cardinal de Mazariu.
Francis de Villemontfe, Bishop of St. Malo. 1661.
Peter Seguier, Chancellor of France.
Nicolas Cififteteau, Bishop of Marseilles; after Du
Moustier.
The Cardinal du Perron ; after Herbin.
Tictor le Bouthillier, Archbishop of Tours. 1658.
' Nicolas Claude Fabri de Peiresc ; one of his finest
portraits.
Charles de Crequis Lesdigueres, Marshal of France.
1633.
Pietro Gassendi, Professor of Mabhematics.
Louisa Maria de Gonzaga, Queen of Poland. 1645
His own Portrait. 1635.
SUBJECTS FROM HIS OWN DESIGNS.
Lob and his Daughters. Rome, 1629.
Samson and Delilah.
Moses and the Burning Bush. 1663.
The Miracle of the Manna.
The Annunciation ; inscribed Ecce Tlrqo conciviet
1666. '^ '
The Virgin, with the Infant Jesus on her knee. 1659
The Holy Family. Rome, 1635.
Christ praying in the Garden ; a night-piece ; fine.
Christ seized by the Soldiers ; inscribed Fater, ignosce
illis, S[c.
St. John, with Magdalene embracing the Cross. Rome.
The Crucifixion, with the Virgin, Magdalene, and St.
John.
The Entombment, with an inscription, Terra mota est.
The Resurrection ; inscribed Fer se resurgens. 16S3.
The Sudarium of St. Veronica ; executed by a single
spiral line, begun at the extremity of the nose, and
continued unbroken, but with variations in its
thickness over the whole face and background.
Sb. Peter Nolasque, supported by two Angels. One
of the finest and rarest of Mellan's prints.
Four large plates from the Life of St. Bruno.
St. Bruno praying in the Desert.
St. Francis praying. 1638 ; very fine.
Several other Saints in acts of Devotion.
Mary Magdalene expiring, supported by Angels.
SUBJECTS AFTER VARIOUS MASTERS.
Herodias with the Head of St. John ; after S. Vouet.
Roman Charity ; after the same.
The Death of Lucretia ; after the same.
St. Catherine kneeling, with an Angel presenting the
palm of martyrdom ; after the same.
Rebekah meeting the Servant of Abraham ; after Tin'
toretto ; considered his finest plate.
His plates from the Giustiniani Collection are 322
in number. They were published in two folio
volumes at Rome in 1640. Mellan also executed
a number of plates from antique marbles in the
French royal palaces. Mellan sigJied his works
G. M. G. {Gallus) ; Gl. Mell. ; Mel. p. et sc. ; Md.
scul. Eomae, &o., or a monogram.
MELLIN, Charles, (Meslin,) painter of Lor-
raine, was a pupil of Vouet, and afterwards went
to Rome, where he spent the greater part of his
life. He was called Lorenese. He painted his-
torical and mythological works, and flourished
between 1636 and 1693.
MELLING, Anton Ignaz, born at Carlsruhe in
1763, was instructed in art by his uncle, Joseph
Melling, at Strasburg, and afterwards visited Italy,
Egypt, and Smyrna. On his return in 1803 he
became landscape painter to the Empress Josephine,
and subsequently painter to Louis XVIII., and a
member of the Legion of Honour. He died in
Paris in 1831. Among his published works are :
'Voyage pittoresque dans les Pyr&fes fran9aises.'
' Voyage pittoresque de Constantinople et des liives du
Bosphore.'
In conjunction with his daughter, Madame Adelb
Clergbt, who was also an artist, he produced an
' Entry of Louis XIII. into Paris,' and a ' Dis-
tribution of the Colours to the National Guards.'
MELLING, Joseph, studied in Paris under Van-
loo, and afterwards went to Strasburg. In 1777
he became court painter at Carlsruhe, where he
died at the end of the century.
HELLISH, Thomas, an English marine painter,
who practised about the middle of the 18th century.
MELLUEL. See Malwel.
135
Melone
A BIOGRAPHICAL DICTIONARY OF
Memliuc
MELONE, Altobelio, a distinguished contem-
porary of Bocoaccino, was living at Cremona in
the beginning of the 16th century. He painted
seven frescoes from the lives of Christ and the
Virgin in the cathedral of Cremona in 1517. The
organ shutters at San Michele, in the same town,
which represent the Virgin and Gabriel, and SS.
Anthony and Paul the Hermit, are by this artist.
He was also a portrait painter, and examples of
his work may be found in the public galleries of
Stuttgart, Bergamo, Naples, Venice, and Milan.
The National Gallery possesses an excellent though
somewhat bizarre picture of ' Christ and the Two
Disciples going to Emmaus' by him. Panni, in
his account of the pictures in Cremona, describes
a picture in the cathedral divided into two subjects,
' The Slaughter of the Innocents ' and ' The Flight
into Egypt,' which was signed Altobellus de Me-
lonibus P. MDXVII. Vasari, too, in his life of
Garofalo, mentions Melone as superior to most of
the Lombard painters of his time. He is praised
also by Baldinucoi, Zaist, and Grasselli.
MELONI, Antonio, a native of Mantua, who
went to Rome in 1656 and worked in the school
of Trevisani. He painted historical subjects, and
died about 1700.
MELONI, Francesco Antonio, an Italian painter
and engraver, was born at Bologna in 1676. He
was instructed by P. A. Paderna, J. Monti, and
Marc Antonio Franceschini ; but not succeeding tD
his wishes as a painter, he etched some plates after
the designs of Franceschini, which encouraged
him to devote himself entirely to engraving. He
died at Vienna in 1713. His works are signed
F.A.M. del. et inv., F.A.M.F., &c. Among others
we have the following by him :
The Adoration of the Shepherds ; after C. dgnani.
Aurora ; from a ceiling painted at I'orli ; hy the same.
Diana and Endymion ; after Franceschini.
MELONI, Maeco, of Carpi, is the author of a
'Madonna with SS. John the Baptist, Bernard,
Francis, and Jerome,' dated 1504, in the Gallery
of Modena.
MELONI, PiETEO Antonio, born at Iraola in
1761, was a pupil of Dardane and Gottarelli. He
painted historical subjects, and was on the house-
hold of Pope Pius VI. He founded an Academy
at Ancona, and died in 1836.
MELOTIUS, M. DE. See Palmezzano.
MELOZZO DA FORLI. See Dbgli Ambrosi.
MELZER, JoHANN Gottlieb, was born in
Prussia about 1680, and after remaining some
time in his own country he went to Hamburg,
where he distinguished himself as a portrait
painter, and where he died about 1730.
MELZI, Francesco, II Conte, the pupil and
friend of Leonardo da Vinci, was born at Milan
about 1491. He was of noble birth, and practised
the art of painting as a delightful employment
rather than as a profession. No really authentic
work by him has come down to us, but many are
ascribed to him in various galleries and private
collections. The ' Vertumnus and Pomona ' at
Berlin has more to be said for it, perhaps, than
any other, although ' Lermolieff' will not accept
it as a Melzi. Melzi followed Leonardo to France,
and attended him at his death, and succeeded to
the whole of his drawings, instruments, books,
and manuscripts. He furnished Vaeari and Lo-
mazzo with notes on Leonardo's life, and it is to
him that posterity is indebted for the preservation
136
of the valuable collection of the master's writings.
He died in 1568. ny
MEMLINC, Hans, was born about 1430—14^0,
perhaps at Memling, near Aschaffenberg, in Ger-
many, or at Memelynck, in Holland. He was
probably settled at Bruges in 1471, certainly in
1478. In May 1480 he was in possession of
house property in the street now called Sint Jooris
Straet. In the town accounts of 1480 he appears
among the 247 burgesses who advanced money
towards the carrying on of the war between the
Emperor and the King of France. Memlinc was
married ; his wife's Christian name was Anne,
and she bore him three children, two boys and a
girl, John, Nicolas, and 'Nielkin,' which may have
been short for Cornelia. Anne was already dead
on the 10th September, 1487, and Hans followed
her, as Mr. Weale has ascertained from the
orphan registers of the town, between the 1st
June, 1492, and the 10th December, 1495. Vasari
says Memlinc was the scholar of Roger van der
Weyden, and in the collection of pictures in the
possession of Margaret of Austria, once at Mechlin,
there was a triptych of which the centre was by
Roger and the wings by Hans. The names of
two of Memlinc 's pupils have been ascertained :
Hannekin Verhanneman, son of Nicolas, and Pas-
scier van der Meersch, son of Passcier. The roman-
tic tale first told by Descamps, which narrates how
Memlinc fought as a soldier in the battle of Nancy,
and returned grievously wounded to Bruges, to be
nursed by the sisters of the Hospital of St. John,
finds too little support before the year in which
Descamps wrote (1713) to be accepted now. Mr. '
Weale, however, found in a MS. of the 17th century ;
a statement to the effect that Memlinc painted one
of his pictures for the Hospital out of gratitude for
the services rendered to him by its members. For
harmonious frankness of colour and purity of ex-
pression, Memlinc must be put at the head of the
old Flemish painters. The following list of his
works is divided into two classes, the first con-
taining all those of which authenticity is undoubted,
in their approximate chronological order :
CLASS I.
France. Ckantilly. Diptych ('Cruoifixion'and 'Joan
of France at a Prayer-desk ' ).
1460 (?).
Triptych. 1471 (?).
1 Large Altar-piece. (Triptych.)
J 1479.
The Light of the World (called
in catalogue ' The seven Joys
of the Virgin '). 1480.
Bruges. Sosjyiial. Small triptych with donor (J.
Fioreins).
Brussels. Gallery. Portraits of 'William Moreel and
of his Wife, Barbara Vlaen-
derbTch. M80.
Bruges. Hospital, Portrait of their daughter Mary
(called the ' Sibyl Sambetha 'j.
1480.
Large Altar-piece from the
church of St. James. 1484.
Diptych for Martin Nieuwen-
hove. 1487.
Portrait of a Man praying.
1487.
Chasse of St. Ursula. 1489.
{Much injured and repainted.]
Virgin and Child.
A 'Light of the World.' (ffimt-
lar to that at Munich.)
Bruges. Hospital. Triptych painted for Adrian
Keins.
England Chiswick House.
Bruges. Hospital of St.
John.
Munich. Old Finacothek.
»
Academy.
11
Hospital.
Florence.
Ufzi.
Bruges.
Hospital.
London.
Turin.
Nat. Gallery.
Gallery.
Memmi
Paris.
PAINTERS AND ENGRAVERS.
Antwerp.
Louvre. Virgin Entbroned.
{The dates of these last four
are uncertain.)
CLASS II.
Museum. Portrait of an old Monk.
„ Portrait of a member of the De
Croy family.
„ „ Diptych ('Virgin,' and a por-
trait of Chretien de Hondt).
Dantzig. Church of the} The liast Judgment. 1467 (?).
Tiryin. J (The doubts as to Memlinc's
authorship which some icriters
have cast on this picture do
not seem to he well founded.)
Florence. TTffid, Virgin Enthroned. (Triptych.)
London. Ifat. Gallery. St. John the Baptist and St.
Lawrence. [The doubts ex-
pressed as to these two panels
seem to be ill founded.)
Lubeck. Cathedral. The Crucifixion ; a triptych.
(The largest production of the
school^ but only partly from
the handfif Memtinc.)
Madrid. Museum, Triptych (' Adoration of the
Magi,' 'Presentation in the
Temple,' and the ' Nativity ').
(Much injured^ and parts only
by Memlinc''s own hand.)
Munich. Old Pinacothek. St. John the Baptist. (Signed
H. V. D. Goes, 1472, but the
signature is a forgery.)
[See 'Early Flemisli Painters,' by Crowe and
Cavalcaselle (p. 251, ed. of 1879); and 'Hans
Memling,' by W. H. James Weale (Arundel Society,
1865).] W.A.
MEMMI. ■ See Martini.
MENA, Felipe Gil de, was a Spanish painter,
born at Valladolid in 1600. He studied under
Vanderhamen at Madrid, and was himself a teacher.
At his death, in 1 674, he left a large collection of
prints and models, valued at 3000 ducats. His
most curious work, representing an ' Auto-da-F^ at
Valladolid,' was painted for the Inquisition. His
portraits of the painter Diaz and his wife resemble
Pantoja in style. In 1444 he painted a series on
the life of St. Francis for the convent of that saint,
and some of the pictures are now in the Museum
at Valladolid.
MENABUOI, GiusTO di Giovanni de', called
Padovano, or Justus op Padua, was born at
Florence in. the earlier half of the 14th century.
He was a follower of Giotto, and studied the
works which that master had executed in Padua,
of which city Giusto was made a citizen in 1375.
He is supposed to have executed several- frescoes
in Padua, but those in the baptistery of the
cathedral, and in the chapel of St. Luke, in the
church of Sant' Antonio, which were formerly
ascribed to him, are now declared to be the work
of two unimportant painters, who were probably
jiis pupils — Giovanni and Antonio da Padova. The
only autheaticated picture by him is a small trip-
tych in the National Gallery ; it represents in the
centre, the 'Coronation of the Virgin,' with various
saints. On the interior sides of the wings are the
' Birth ' and • Crucifixion of our Lord,' and the
' Annunciation. ' On the exterior wings are various
scenes in the life of the Virgin before her marriage.
The picture, which was formerly in the Wallerstein
Collection, and was presented to the National
Gallery by the Queen, is signed on the back ' Justus
pinxit in archa,' and dated in the front mccclxvii.
Giusto died in the year 1400.
MENAGEOT, FRAN901S Guillaume, (or Mesna-
GEOT,) an historical painter, was born of French
IVCenendez
parents in London in 1744. He worked succes-
sively under Augustin, Deshayes, Boucher, and
Vien. He distmguished himself by his classic
compositions, and became in 1780 a member, and
" ,lor,°?.^ °^ ""^^^ professors of the Academy, and
Tj.: T director of the French School at Rome.
After having spent eight years at Vioenza he
returned to France in 1809, and became a member
of the Institute, dying in Paris in 1816. Among
the best of his works are':
Nebuchadnezzar ordering Kedekiah's sons to be put to
death. ^
The Death of Leonardo da Vinci.
Industry stopping the flight of Time. (Louvre )
Mars and Venus. (St. Petersburg.)
Polyxenus taking leave of Hecuba.
Astyanax torn from the arms of his Mother.
Cleopatra at the Tomb of Marc Antony.
Diana and Venus.
Dagobert giving orders for the construction of the
Church of St. Denis.
MENAGEOT, Eobebt, an engraver, was bom
in Paris in 1748. He was for some time a pupil
of Boucher, and at first practised painting, but he
afterwards devoted himself entirely to engraving.
We have several plates by him, executed in the
dotted manner, some of which were engraved for
Boydell during a residence in London. Among
others we have the following prints by him :
Friendship ; a circular print ; after Correggia.
Innocence ; the companion ; Mena<)eot fecit.
The Virgin and Infant, with St. Elizabeth ; after Guido.
An African Woman ; after Loutherbourg.
MENANT, P., a French engraver, flourished in
Paris about the year 1715. In conjunction with
Raymond, Ponbonne, Scotin, and others, he exe-
cuted part of the plates of the ' Views of the
Palace and Gardens at Versailles.'
MENAROLA, Cheistoforo, an Italian painter,
who flourished at Vioenza in 1727. He was a
pupil of Volpato, and painted historical subjects.
In the churches of Vicenza several of his pictures
are to be seen.
MENAROLA, Crest ano, was a painter of Bas-
sano, who produced gigantic figures in the style
of Michelangelo, and composed in the manner of
Paolo Veronese. He died in 1640.
MENDEZ, DE Haro Sotomayor Guzman Ber-
nardo Inca, a native of Cordoba, is mentioned by
Bermudez as working in 1790 in pen-and-ink.
MENDEZ, Juan, was a Spanish engraver who
flourished at Seville, and in 1627 executed an
architectural frontispiece, with Ionic columns and
several figures, designed by one Juan de Herrera
for Rodrigo Caro's edition pf the 'Apocryphal
Chronicle ' of Flavins Lucius Dexter.
MENDOZA, ESTEBAN Hurtado de, a Spanish
painter who lived at Seville in 1680. He painted
religious subjects, and his pictures are to be found
in the principal buildings of Seville. He was a
Knight of the Order of St. James of Campostello.
MENEGHINO (or Meniohino). See Ambbogi.
MENENDEZ, Anna, daughter and pupil of
Francisco Menendez, was born at Naples in 1714.
She painted miniatures and ^ scenes from ' Don
Quixote.' In 1759 she was made a fellow of the
Academy. Her sister Clara, a portrait painter,
was born at Naples in 1712, and died at Madrid in
1734.
MENENDEZ, Francisco Antonio, was born at
Oviedo in 1682, and at an early age joined his
brother Miguel at Madrid. He proceeded to Italy
137
Meuendez
A BIOGRAPHICAL DICTIONARY OF
Hengs
in 1699, visiting Genoa, Milan, Venice, Rome, and
Naples. On his return in 1717 he devoted himself
to miniature painting, achieving great success
in portraits of the royal family. In 1726 he
addressed a memorial to the king on the scheme
for establishing an Academy of Art, but died
before the realization of his hopes by the crea-
tion of the Academy of St. Ferdinand in 1752.
A votive picture of a ' Storm ' by Menendez adorns
the high altar of our Lady of Atocha.
MENENDEZ, ' Jos:fi Agostino, son of Francisco
Menendez, was born at Madrid, 1724. He resided
at Cadiz, and practised miniature painting.
MENENDEZ, Luis, also a son of Francisco
Menendez, was born at Naples in 1716, and studied
painting under his father, and afterwards at Rome.
At Naples he presented two pictures to King
Charles, who appointed him painter- in-ordinary.
Returning to Madrid, he was emploj'ed by Ferdi-
nand VI. to illuminate the choir books of the
royal chapel. In 1773 he painted a ' Holy Family,'
in miniature, for the portable oratory of the Prin-
cess of the Asturias. Although he painted several
large devotional pictures, his favourite subjects
were of a lower genre. As many as forty-four
of his less ambitious works used to hang in the
king's apartments at Aranjuez. Many good speci-
mens are in the Royal and National Museums at
Madrid, and in the latter collection is a portrait of
iiimself, painted in a smooth and agreeable manner.
He died at Madrid in 1780. In nearly all his
pictures we find a dish of large Andalusian olives.
MENENDEZ, Miguel Jacinto, was born at
Oviedo in 1679, and studied painting at Madrid.
He was appointed painter to Philip V. in 1712.
Amongst his principal pictures were two for the
cloister of the Shod Carmelites, a 'Magdalene' in
the Recolete convent, and an 'Apostle' in the
church of San Gil. His sketches for two com-
positions for the church of San Felipe Real were
afterwards made use of by his friend Andres de la
Calleja. A drawing by Menendez representing St.
Isidore in pontifical robes, on horseback, slaying
Moors, was tolerably engraved by Juan Bernab6
Palomino.
MENESES, OsoEio Fkancisoo, born at Seville
in 1630, was a pupil of Murillo's. He was
president of the Seville Academy, for which he
painted a 'Conception.' In tlie church of St.
Martin, at Madrid, is an ' Elijah.' He died at
Seville in 1705.
MENGELBURG, Egidius. painter, was born at
Cologne in 1770. In 1783 he studied at the
Academy of Diisseldorf, returning to Cologne in
1787. From 1790 to 1800 he was engaged in
painting portraits and copying pictures in the
Diisseldorf Gallery. From 1800 to 1806 he resided
at Elberfeld, and returned to Cologne in 1821,
where he died in 1848.
MENGAZZINO. See Santi, Dombnico.
MENGOZZI-COLONNA, Gibolamo, was born at
Ferrara in 1688. He studied under A. Ferrari, and
resided chiefly at Venice, where he painted in
churches and palaces. He died in 1772.
MENGS, Ana. See Caemona.
MENGS, Anton Rafael, was born at Aussig, in
Bohemia, in 1728. His father, Ismael Mengs, in-
structed him in the first rudiments of drawing, and
having removed to Dresden whilst his son was
young, young Mengs had an opportunity of im-
proving himself, by studying the works of the
best masters in that celebrated Gallery. When he
138
was thirteen years of age his father took him to
Rome, in 1741, where he was employed in copying,
in miniature, some of the works of Raphael, for
Augustus IlL, Elector of Saxony and King of
Poland, which were sent to Dresden, and much
admired. Mengs remained three years at Rome,
where he studied under Marco Benefial and Seb.
Conca, and on his return to Saxony was appointed
one of the painters to the King-Elector, with a salary,
and was permitted by his royal patron to visit Rome
a second time, where he resided four years, and
exhibited a large picture of the ' Holy Family '
of his own composition, which gained him great
reputation. He married at Rome (his bride being
a beautiful peasant girl, Margaretha Quazzi, who
had sat to him as a model), and was desirous of
fixing his residence in that capital, but his father
would not permit him to indulge his inclination,
and he was compelled to return to Saxony, where
he arrived in 1749. He remained three years at
Dresden, where the tyranny of his father rendered
his situation so distressing, that he found his
health and spirits impaired, and he requested and
received the king's permission to return to Rome.
He was soon afterwards reduced to very embar-
rassed circumstances, by the discontinuance of his
salary, which was stopped from the embarrassment
of the king's finances occasioned by the war. He
was working in Rome, at very low prices, when he
was employed by the Duke of Northumberland to
paint a copy of the celebrated ' School of Athens,'
by Raphael. In 1754 he undertook the direction
of the newly-established Art Academy in the
Capitol. In 1787 he was engaged to paint the
ceiling of the church of St. Busebius, and soon
afterwards he executed his fresco of ' Mount Par-
nassus,' in the Villa Albani, which has been finely
engraved by Rafael Morghen. In an excursion he
made to Naples, to execute a commission for the
Elector of Saxony, he became known to the king,
afterwards Charles III. of Spain, who, on his suc-
cession to the throne, invited Mengs to Madrid,
with the offer of a very considerable appointment
This proposal was not refused, and he arrived at
the Spanish court in 1761. His first undertaking
was the ceiling of the king's antechamber, repre-
senting the Graces ; and afterwards that of the
queen's apartment, where he painted one of his
most celebrated works, the ' Aurora,' a grand and
beautiful composition. He was elected a member
of the Academy of Madrid. The climate of Spain
not agreeing with his constitution, he was per-
mitted by the king to return to Rome, for the
re-establishment of his health. On his arrival he
was employed by Clement XIV. in the Vatican,
where he painted two pictures in the Camera de'
Papini. Mengs remained three years at Rome,
and on his return to Madrid in 1773 was re-
ceived with great kindness by his royal protector.
It was soon after his return that he undertook the
ceiling of the great saloon in the palace, on which
he painted the ' Apotheosis of Trajan.' The fresco
paintings of Mengs are greatly superior to his
pictures in oil. Of the latter, perhaps the best
is his picture of the 'Nativity,' in the royal col-
lection of Spain. Mengs died at Rome in 1779.
The following are some of his chief pictures :
Berlin.
Dresden.
Museum.
Catholic 1
Portrait of Ismael Mengs.
Holy Family.
Ciiurch f ■^ss'i™ptiei' of the Virgin.
Gallery. The Angel appearing.
Mangs
Dresden.
PAINTERS AND ENGRAVERS.
Mercey
Gallery. Penitent Magdalen.
„ „ Portrait of Maria Antouia, wife
of Frederick Christian, Elec-
tor of Saxony.
„ „ Magdalen ; miniature.
„ „ Holy Family ; miniature. {From
the original by Raphael in the
Naples Gallery.)
„ „ Madonna della Sedia; minia-
ture ; after Baphael.
„ „ August III., King of Poland ;
miniature,
Florence. Uffizi. His own Portrait. (^Replicas are
at Munich, St. Petersburg, and
Madrid.)
Madrid. Gallery. Adoration of the Shepherds.
Munich. Pinakothek. Portrait of a Capuchin Friar.
Petersburg. Hermitage. Annunciation.
„ „ St. John preaching in the Wil-
derness.
„ „ The Descent of the Holy Spirit.
„ „ Apotheosis of a Poetess.
„ „ Perseus and Andromeda.
„ „ Judgment of Paris.
Rome. f^illa Albani. Apollo and the Muses.
Vienna. Belvedere. The Angel appearing to St.
Joseph.
„ „ Madonna and Child.
„ „ Annunciation.
„ St. Peter.
„ „ Portrait of Infanta Maria The-
resa of Naples.
„ „ Portrait of the Grand Duchess
Maria Ludovica of Tuscany.
MENGS, IsMAEL, a miniature painter, and father
of Rafael Mengs, born at Copenhagen in 1690. He
was the pupil of an English painter called Cooper.
He was painter to the King of Poland and director
of the Dresden Academy, where he died in 1764.
MENGS, JnLiA, sister of Anton Rafael Mengs,
was a miniature painter, and died in 1789.
MENGS, Therese. See Makon.
MENHEERE, Cornelis Latjrensz, a Dutch
marine painter, lived at the beginning of the
18th century. He resided at Flushing, and the
greater part of his pictures are views of that city
taken from the sea-coast.
MENICO, Sang, or Ansano di. See Sano di
PiBTRO.
MENINI, Lorenzo, an historical painter, was
born at Bologna about 1600. He was a pupil of
Gessi, whom he accompanied to Naples.
MENJAUD, Alexandre, a French historical and
portrait painter, bom in Paris in 1768. He worked
under Regnault, and having obtained the Prix
de Rome in 1802, proceeded to Italy to complete his
studies. His works obtained medals at the Salons
of 1806 and 1819. He died in Paris in 18.32.
Among his pictures we may name :
The Death-bed of Louis VI. 1817. {St. Denis.)
The Miser punished.
The Death of Abbfi Edgeworth. 1817. {Bordeaux
Museum.)
The Death of the Duke of Berri.
MENKEN, JoHANN Heinrich, was born at Bre-
men in 1764. He studied under Klengel and
Casanova at Dresden. He painted cattle-pieces,
landscapes, forest scenes, &c. in the style of
Euisdael, Berchem, Potter, and Wouwerman, and
engraved among others :
A Landscape with a Mill, and Cattle in the water.
A Forest with Cottages and Cattle.
The plates for ' Eeinecke Fuohs.'
He died in 1837. Gottfried Menken, his son and
pupil, bom in 1799, was also a painter.
MENSAERT, G. p., a Flemish historical painter
who resided at Brussels, where he executed, in
company with several other artists, a ' Life of
the Virgin' for the church of the Jesuits. He
died in 1750.
MENSGHEL, Alotsius, portrait painter, was
born at Rumburg, in Bohemia, in 1782, and studied
at the Dresden Academy from 1801 to 1807. In
style he was an imitator of the early German
school. He was also employed as a picture-restorer.
We can find no record of his death.
MENSING, Jan, painter, was born at Haarlem
in 1685. He was a pupil of Van der Vinne the
elder, and was enrolled in the registers of St.
Luke in 1705. He died in 1741.
MENTON, Frans, was born at Alkmaar in 1550,
and was a, disciple of Frans Floris. He painted
historical subjects and portraits. He a'so etched
four spirited plates for the 'History of Lot,' wliich
are now very rare. He died at Alkmaar in 1615.
His chfff d'oeuvre is an 'Assumption' in the Jesuits'
Church at Antwerp.
MENZEL, Johann Georg, (Mentzel,) an en-
graver, was born at Leipsic in 1675. He engraved
several portraits, among which were Philip, Dulte
of Orleans, and Anna, Empress of Russia. He
died in 1730.
MERA, JosEP DE, a Spanish painter, bora at Villa
Meava de la Serena. He was a pupil of Barnabd
d'Ayala. His best pictures are at the Carmelite
convent at Seville. He died at Seville in 1734.
MP]RA, PlETER, a Dutch historical painter who
resided at Venice, where he painted several pictures
for the churches. He died in 1680.
MERANO, Francesco, called II Paggio, was
born at Genoa in 1619. He began life as a page,
but took to art, and was a pupil of Piasella, called
Sarzana, whose style he followed. He died of the
plague in 1657.
MERANO, Giovanni Battista, wfis born at
Genoa in 1632. He was a scholar of Valeric Cus-
tello, and by the recommendation of his master
studied with attention the works of Correggio, at
Parma, where he was employed by the Duke and
by many private patrons. One of his best per-
formances is the 'Murder of the Innocents,' in the
Jesuits' church at Genoa. He died in 1700 (or 1698).
MERCATI, Giovanni Battista, a Florentine
painter and engraver, was born at Citta San Sepol-
cro, and flourished at Rome from 1616 to 1637.
He was an imitator, if not a scholar, of Pietro da
Cortona, and painted history in the style of that
master. In the church of Santa Chiara, in his
native city, he painted two subjects from the life
of the Virgin ; and in San Lorenzo, an altar-piece
which resembles the style of the Carracci. We
have several spirited etchings by this artist, some
of which are from his own designs ; they are
variously signed O.M., G.M.I.F., G.B.M.I., G.M.
del. Jo. Batt. inuen. et F., J.B.M. fecit, &c. The
following are the principal :
A set of fifty-two plates of Ruins and Views in Italy ;
engraved in the manner of Sylvestre ; Gio. Bat.
Mercatifec.
Four Antique Figures, from the arch of Constantine ;
engraved in the style of Galestruzzi ; circular ; Gio.
Bat. Mercati.
The Marriage of St. Catharine ; after Correggio.
St. Bibiana refusing to sacrifice to false Gods ; after
Pietro da Cortona.
MERCEY, Frederic Bourgeois de, a French
landscape painter, born in Paris about 1805. From
1829 to 1837 he mnde many tours in Scotland,
Italy, Switzerland, the Tyrol, Germany, &c., which
furnished subjects for the pictures he exhibiled at
139
Mercier
A BIOGRAPHICAL DICTION All V OF
Kerian
the Salon, where he first appeared in 1831. He
subsequently held high office in the Department of
Pine Arts, in connection with which he superin-
tended the erection of the building for the Paris
Exhibition of 1855. He died in Paris in 1860.
Amongst the works which he published are :
' Etudes sur les Beaux Arts,' 3 vols. 1855.
'Le Toscaae et le M'di de I'ltalie,' 2 vols. 1858.
MERCIER, Philip, was born of French parents
at BerHn in 1689, and was brought up in the
Academy there. After visiting France and Italy
he went to Hanover, where he painted the portrait
of Prince Frederick, son of George II., which he
brought with him to England. When the Prince
came over Mercier was appointed his painter, be-
came a favourite, and was taken into his household,
when by the prince's order he drew several of the
royal family, particularly the three eldest prin-
cesses, his work being reproduced in mezzotint by
J. Simon. After some years he lost the favour of
the Prince of Wales, and was dismissed from his
service. He afterwards lived in Covent Garden,
painting portraits and pictures of domestic subjects
in the style of Watteau, in whose manner he has
left an etching of himself, with his wife and two
children. Still later he spent some time at York,
and then in Portugal and Ireland. He died in 1760.
A portrait of Peg WoflSngton by him is at the
Garrick Club, and he has also left one of Queen
Anne. His daughter Charlotte, who was also a
painter and engraver, died in 1762.
MERCK, JoHANN Cheistoph, a painter of Hall,
in Wurteraberg, who flourished in the 18th century.
He painted several pictures for King Frederick
William, as also his portrait and those of the two
Dukes Philipp and Ludwig on horseback. He
died at Potsdam early in the present century.
MERCOLI, Jakob, an engraver, was born at
Mugena in 1745. He worked chiefly in Italy,
and died in 1825. His son Michelangelo, born
in 1773, 'who was also a painter, died in 1802.
MERCURIUS. See Rocs, Phil. Pet.
MERCURY, Paul, a French engraver, was born
at Rome in 1808, died in Paris in 1886, He was
often premiated at the salon, and, in 1847, was
appointed professor of engraving at the French
Academy in Rome. He occasionally exhibited a
picture at the Salon. His best known plates are :
Lady Jane Gray ; after Paul Betaroche.
Sfc. Amfilie ; after the same.
Madame de Maiutenon ; after Fetitot.
La Pia ; an original subject,
' Tasso ' and ' Christopher Columbus ' -tfor the ' Galleries
bistoriques de Versailles.'
Reapers in the Pontine Marshes ; afer Liopold Eoiert.
Madonna ; after Raphael.
A Series of Costumes from the XIII., XIV., and XV.
centuries. 1828.
M^RECINUS, P. See Meeica.
MERELLE, p., a portrait painter, who worked
in Paris from 1660 to 1710. Several of his works
were engraved.
MERIAN, Dorothea Maeia Heneietta, daugh-
ter of Maria Sibylla Merian, was born in 1678. She
followed in the steps of her mother, and painted
insects. She married the painter Xells, who lived
at St. Petersburg. She retained through life the
name of Merian, though her real maiden name was
Graff. She died in 1745. Her sister, Johanna
Maeia Helena, was born at Frankfort in 1668.
She also painted flowers and insects. She married
a merchant named Herold, who was in business at
Surinam. The date of her death is unknown.
140
MERIAN, Gaspae, was a native of Germany.
He engraved a set of plates representing the
' Ceremonies at the Election of the Emperor
Leopold,' published at Frankfort in 1660.
MERIAN, Jan Matthaus, was the son of
Matthalis Merian the younger. He was a minia-
ture painter, and died at Frankfort in 1716.
MERIAN, Maeia Sibylla, the daughter of
Matthaiis Merian the elder, was born at Frankfort
in 1647. Sbe lost her father when she was only
four years of age, but her mother having some
time afterwards married Jacob Marel, a fruit and
flower painter, he encouraged the disposition she
discovered for drawing, and taught her the first
rudiments of the art. Her father-in-law placed her
under the care of Abraham Mignon, who had been
his scholar, and who excelled in paintinginsects; and
it was not long before she arrived at a perfection
little short of her instructor. She usually painted
in water-colours, on vellum. In 1665 she married
Johann Andreas Graff, an artist of Nuremberg, who
had been a scholar of Marel, and settled in that
city. She died in 1717. The British Museum
possesses two volumes of her drawings.
MERIAN, Matthaus, the elder, an eminent
draughtsman and engraver, was born at Basle in
1593. Having discovered an early disposition for
art he was sent to Zurich, and placed under the
tuition of Dietrich Meyer, a glass painter and en-
graver, with whom he studied four years. On
leaving that master he was employed to make an
etching of the frieze representing the 'Entry of
the Duke of Lorraine into Nancy,' which he exe-
cuted in twelve plates. From Zurich he visited
Paris and Stuttgart. He also passed a short time
in the Netherlands, and subsequently married the
daughter of Theodor de Bry, an engraver at Oppen-
heim. He then worked at Basle until 1624, and
etched a considerable number of landscapes, battles,
and hunts ; in the same year he returned to Frank-
fort, and engraved topographical plates of Heidel-
berg, Stuttgart, Schwalbach,&c.,which he afterwards
published at Frankfort, and which are the best of
his works. They are etched from his own designs,
in a slight free style, and finished with the graver,
and give a perfect idea of the places they repre-
sent, though without much taste in the execution.
He has the credit of having been the master of
Hollar. Merian died at Sohwalbach in 1650.
Among the important works which he illustrated
were, the Bible, Gottfried's ' Chronik,' Zeiller's
'Topographia' (1640-88), and 'Theatrum Euro-
pium.' The following are his principal prints,
which are sometimes marked with M M or one of
these ciphers, -^^ or _^.
portraits.
David Parens, Prof. Academise Heidelberg,
Daniel Senerbus ; oval.
Arnold Weiokerdus, Med. Doc. 1626.
SUBJECTS.
A set of plates from Sacred History.
The Last Supper, inscribed, Accepit Jesus paneni; a
large plate.
A large plate of the Picture of Human Life ; inscribed,
Tahula Cebetis, continens totius vita humaiuB descrip-
tionem.
A set of seven Views in France.
Six Views in Germany.
Sixteen Views in Germany and Switzerland.
Twelve Views of Gardens, &c.
Twenty-four Picturesque Landscapes, with figures.
SCerian
PAINTERS AND ENGRAVERS.
M#ryon
MBRIAN, Matthaus, the younger, the son of
Matthaiis the elder, was born at Basle in 1621.
At the age of fourteen he came to Frankfort,
where he learnt the principles of painting from
Joachim von Sandrart, whom he accompanied
to Amsterdam in 1637 and to England in 1640.
In the latter country ho followed the style of Van
Dyok, and after having travelled in the Nether-
lands, he went to Paris and Rome, and studied
there, under Sacohi's direction, after the works of
the old masters. He painted history and portraits,
and in the latter line he was employed by the most
distinguished personages in Germany. After the
death of his father in 1650 he continued his busi-
ness as a printseller at Frankfort, and engraved
several plates for the 'Theatrum Buropseum.' He
died at Frankfort in 1687. Bartholomaus and
Philipp Kilian, M. Kiissel, and several others have
engraved after his works. His son Caspar was
born in 1627. He was an engraver and assisted
his father. Among the best works of Matthaiis
we may name :
Bamberg. Oathedral. Martyrdom of St. Lawrence.
Basle. Town Library. The Resurrection.
„ Herr Burhhard's. Artemisia.
His best portraits are those of :
His Father.
His sister Maria Sibylla.
The Electors of Brandenburg, Mentz, and the Palatinate.
The Count Serini.
A Family Picture. {Basle.) 1641.
MERICA, Petrus A., generally called Meeecinus,
(MiRiOENiJS, MiJRiciNis, &c.,) was a Flemish en-
graver, a native of Merioa (perhaps Meereyok or
Meeryck), and flourished about 1560-70. He en-
graved several eccentric and strange compositions,
after Jerome Bosch, Brueghel, and others. There is
also a portrait of Albrecht Diirer at the age of
fifty-six, copied by him from a larger print. He
marked his plates with the cipher ^j^ • The
name appears on several prints published by Jerome
Cock ; one has the date 1567, and is signed Pet.
Merecinus sa. This artist is said to be the same
as Pieter Martini, a printseller of Antwerp. Among
other plates there are by him :
A Bird's-eye View of Antwerp in four plates.
Tlie Twelve Apostles ; after M. de Vos.
The Seven Mortal Sins ; after P. Brueghel.
A Pedlar sleeping, surrounded by sportive Monkeys
(his best plate).
Master Hans, the Quack ; after P. Brueghel.
The Two Blind Men ; a,fter J. Bosch.
The Adoration of the Shepherds.
MERIGI (or Merighi). See Amebigi.
MERIM:6b, Jean FEANgois Lbonorb, a French
painter, was born in 1765. He was a pupil of
Vincent. He went to Rome, and on his return
was appointed secretary of the Eoole des Beaux
Arts. He painted portraits and historical subjects,
among which were the portrait of Poussin and the
' Resurrection ' of Hippolytua. He died in Paris in
1836.
MERKEL, Conrad, (Meeklin,) was a German
historical, portrait, and still-life painter, born at
Ulra. He was a contemporary and friend of
Albrecht Diirer. He died in 1518 or 1526.
MERKURIEFF, Ivan, a Russian painter, was
sent by Peter the Great to Italy, where he made
copies of the works of the best masters, and then
returned to St. Petersburg, where he painted for
the churches. He died at Moscow about 1710.
MERLE, Hdgues, was a French genre painter,
born at Iseres in 1823. His best known produc-
tion is ' The Beggar-woman.' He died in 1881.
MERLEN, Abraham von, an engraver who
worked in the Netherlands in 1620.
MERLEN, JoHANN VAN. This artist, conjointly
with Theodor van Mbrlen, who was probably
his brother, engraved a few plates after Maitin de
Vos and others about the year 1600.
MBRSION, Madeleine de, author of a ' Landscape
with Cattle,' engraved in the ' Berghem ' style of
Danckerts : it has no date.
MERTENS, Jan, a Flemish painter who resided
at Antwerp in the 15th century. He was a pupil
of Jan de Mabuse, and was inscribed as master in
the registers of St. Luke in 1505.
MERTENS, Jan Cornells, portrait painter, was
born at Amsterdam in 1745. He was a pupil of
Quinkhard. He died in 1821.
MERTER, Hans Michel, a German landscape
painter. He was a pupil of J. Dorner, but died
still young in 1790.
MBRYON, Charles, sailor, engraver, and etcher,
was born in Paris in 1821. His father, Charles
Lewis Meryon, was an English physician, and his
mother, Pierre Narcisse Chaspoux, a dancer at the
opera. At five he went to school at Passy, and
afterwards was taken by his mother to the south
of France. In 1837 he entered the naval school at
Brest, and two years later went to sea. While in
the navy he had an opportunity of accumulating
materials for use in the new profession which he
finally adopted in 1846. In that year he settled
in Paris, and became the pupil for a time of a
painter named Phelippes, who was, employed at
the Ministere de Guerre. It was while he was
struggling to paint a large historical picture on
the strength of the hints given to him by Phelippes,
that he was discovered to be suffering from the
affection of the eyes known as Daltonism, which
made him quite unfit to be a painter. He then
entered the atelier of M. B. BMry, the engraver,
with whom he stayed six months, and after that
began the series of etchings from the streets of Paris
with which his name will always remain associated.
In 1856 he went to Belgium on the invitation of
the Due d' Aremberg, of whose chateau at Enghien
be made some drawings, but returned to Paris
early in 1858, the mental disease by which he had
long been threatened having then greatly de-
veloped itself. Two months later h6 was placed
in the asylum at Charenton, the certificate declaring
him to be "suffering from melancholy madness,
aggravated by delusions." Here his health im-
proved, and at the end of 1859 he left the asylum.
For seven years he worked on, leading a curiously
fitful life with the few whoni he called his friends ;
but in 1866 his malady increased, and a second
confinement became necessary. Mdryon died at
Charenton at the beginning of 1868, and was
buried in the cemetery of the asylum. The
following is a complete list of his etchings :
1. La Sainte Face. {His first attempt.)
2. The Cow and the Ass.
3. A Soldier ; after Salvator Rosa.
4. A Shepherd ; after Stefano delta Bella.
5. Sheep and Flies ; after Karel du Jardin,
6. Three Pigs ; after the same.
7. Two Horses ; after the same.
8. Pavilion de Mademoiselle ; after Zeeman. {Louvre. )
9. Entrance to Faubourg St. Marceaux ; after the same.
10. Water-mill near St. Deni.s ; after the same.
11 . The Seine at the Angle de Mail ; after the same.
12. Galliot of Jan Van Vyl ; after the same, reversed.
141
Merz
A BIOGRAPHICAL DICTIONAKY OF
Hesquida
13. Amsterdam-Haarlem boat ; after Zeeman, reversed.
14. South-sea Fishermen ; after the same, reversed.
15. Calais to Flu.shing ; after the same, reversed.
16. Entrance to the Oapucin Convent, Athens.
17. The Salle des Pas Perdns.
18. Chenonceau. [In ' Vlnventaire des meuhles, ^c, a
Chenonceau,^ hy Prijice Auguste Galitzin, 1856.)
19. The Pont Neuf.
20. The Pont-au-Ohange ahout 1784 ; a.per Nicolle.
21. The Battle of Sinope ; after a drawing by an Enylish
naval officer.
22. View of San Francisco.
23. Ruins of the Chateau de Pierrefonds ; after a sketch
hy Viollet le Due.
24. Eue Pirouette-aux-Halles ; after a drawing l)y one
Monsieur Laurence.
25. Presentation to Louis XI. of ' Valere Maxime,' a
boolc printed in Paris in 1475 ; after an old miniature
belonying to the late M. l^iel.
26. Apse of St. Martin-sur-Eenelle ; after a dratmng by
Folydes Langlois.
27. Passerelle du Pont-au-Change (after the fire of 1621).
28. Part of the Cite, Paris.
29. Le Grand Chatelet ; after an old drawing.
30. The old Louvre ; after Zeeman .
31. The Title to his ' Etchings of Paris.'
32. Portrait of Zeeman.
33. The old Gateway to the Palais de Justice ; frontis-
piece to the Pans etchings.
34. ' Qu'ame pure rougisse.'
35. Symbolical arms of Paris.
36. * Fluctuat nee mergitur ; ' the ship of Paris.
37. Le Stryge.
38. Le Petit Pont.
39. L'Arche du Pont Notre-Dame. 1850.
40. La Galerie de Notre-Dame.
41. La Eue des Mauvais-Gar^ons.
42. La Tour de I'Horloge.
43- Tower in the Eue de la Tixcrauderie, demolished
in 1S51.
44. Saiut-Etieuue-du-Mont.
45. La poiupe Notre-Dame.
46. La petite pompe .
47. Le Pont Neuf.
48. Le Pont-au-Change.
49. L'Esp6rance.
0. La Morgue.
1. L'hotellerie de la Mort. {Verses.)
2. L'abside de Notre-Dame.
53. Le Tombeaii de Moliere.
54. ' Bstampes anciennes, Eochoux, Quai de I'hor'.oge,
No. 19.' (Book-plate.)
55. Tourelle, Eue de I'Ecole de Mfidecine.
56. Eue de Ghantres, Paris.
57. Carved Doorway to an old House at Bourges.
58. Eue des Toiles, Bourges.
69. Old House at Bourges.
60. The Tongan Pilot.
61. An Akaroan Fungus.
62. Head of a New Holland Dog.
63. New Zealand ; native huts at Akaroa.
64. New Caledouia ; native barrack.
Q5. Natives of Uvea fishing.
GQ. Fishing in a Creek, Akaroa.
67. Title-page to 'Etchings of New Zealand.'
68. Akaroa.
69. In the Mulgrave Islands.
70. ' Petit Prince Dito.'
71. ' A Monsieur Eugene Bl^ry.'
72. ' La Loi Lunaire.'
73. A second plate of the same subject.
74. ' La Loi Solaire.'
75 )
If.' !■ Trials for engraving In relief.
ig' > Eebuses.
79. Design for a Frame.
80. Frontispiece for a Catalogue of the works of Thomas
de Leu.
81. View of the old Louvre ; after Zeeman.
8j. La Miuistere de la Marine.
83. Collfige Henri IV. -
84. Bathing-shed on the Seine.
85. Portrait of Himself, before his Easel,
142
86. Portrait of M. Deoourtive.
87. Portrait of M. Eugene Blcry ; after Buttcra.
88. Portrait of M. Casimir Lecomte.
89. Portrait of Evariste Boulay-Paty ; after David
d'' Angers.
90. Portrait of Fraucjois Viete ; after an old, froviis-
piece.
91. Portrait of Pierre Nivelle, Bishop of Lucon ; after
an old engraving.
92. Portrait of T. Agrippa d'AubignS; after a litho-
graphic reproduction of a portrait preserved at Geneva.
93. Portrait of Jean Besley ; after L. {? J.) I sac.
94. Portrait of Een^ de Burdigale ; after Cri^nde Pas.
95. Portrait of Armand Gu&aud.
96. Louis Jacques Marie Bizeul.
97. Benjamin Fillon.
(The last three from photographs. The numbers are those
of M. Burty's List.) Vf.k.
MERZ, Caspab Heinrich, an engraver, was born
at St. Galle in Switzerland in 1806. In 1821 he
entered the studio of Jacob Lips in Zurich, and in
1825 the Munich Academy. In 1829 he became
the pupil of Arasler, wlio was professor of en-
graving in tlie Academy, and to this time belongs
his fine engraving of the Madonna, after tlie altar-
piece in the churcli of All Saints in Munich. He
died from a fall on the Kaiser mountain in 1875.
His cartoon engravings are picturesque. His chief
plates are :
The Destruction of Jerusalem..
The Portrait of Amsler ; after Kaulhach.
The Mad-house ; after the same.
Egmont and Clara ; after the same. 1835.
The Night ; after Cornelius. 1836.
The Last Judgment ; after the same.
The Nativity and Crucifixion ; after the same.
The Destruction of Troy ; after the same
Five plates, the Life of a "Witch ; afttv Genelli.
Ten plates, the Life of an Artist ; after the same.
Scliultheiss Wengi ; after Bosshardt.
The Eepentant Sinner, or the Joy of the Angels ; after
Gustav Konig.
,MERZ, Jakob, a Swiss painter, designer, and
engraver, was born at Buch (Zurich) in 1783.
Among his paintings may.be mentioned a portrait
of J. J. L. Billwiller, and, among liis engravings, a
' Cupid in the Chariot of Victory,' after Domeni-
chino. J. J. L. Billwiller has engraved after him.
Merz died in 1807.
MESA, Alonso de, according to Palomino, was
born at Madrid in 1628, and was a scholar of
Alonso Cano. He painted several historical works
for the public edifices in that capital, among them
a series of pictures of the life of St, Francis, in
the cloister of the Franciscans. He died at Madrid
in 1668.
MESA, Joan de, was a Spanish painter, who
resided at Madrid at the commencement of the
17th century. He painted for the college of the
Jesuits de Alcala de Henares a series of pictures
illustrative of the 'Life of St. Ignatius Loyola'
by Father Eibadeneyra, wliich were engraved in
Flanders.
MESLIN, Chakles, called Le Lorrain, was a
French landscape and historical painter and en-
graver. He was a pupil of Vouet, but spent most
of his time in Italy. He died in 1650.
MESMER. See MOssmer.
MESNIL, Elias du, (Mbnil,) a French engraver,
was born at Troyes in 1726. He was a pupil of
Fessard, and engraved several plates after Mieris,
Karel de Moor, and other Dutch masters.
MESQUIDA, GuiLLEEMO, the son of a merchant
of Minorca, was born at Palina about 1675, and
studied at Rome under Carlo Maratti. So close
Messa
PAINTERS AND ENGEAVEnS.
Metsu
was bis imitation that his works were often con-
founded with his master's. At Venice he studied
under an animal painter of local reputation. He
went to Brussels, where he married, and met with
some success. On his return to Italy he worked
extensively at Bologna and Rome. In the latter
city he became the master of Eosalba Salvioni.
He died at Palma in 1747. Cean Bermudez praises
his colouring. There are several paintings by him
in the cathedral, in Sant' Eulalia, and in San Jaime,
in his native town, where he spent the latter part
of his life, and died in 1747.
MESSA, Alonso db. See Mesa.
MESSINA, Ant. da. See Antonio, Anto-
NBLLO D'.
MESSINA, Onofrio da. See Gabeiello.
MESSINA, Pino da, was living in the 16th
century, and is said to have been a pupil of
Antonello da Messina. It is recorded of this artist
that he painted a panel of St. Sebastian (now lost)
for the church of San Ginliano, Venice.
MESSINA, Salvo da, was, according to Hakert,
in his ' Memorie de' Pittori Messinesi,' the nephew
of Antonello da Messina, and flourished about the
year 1511. He is said by that author to have
been a successful follower of the style of Raphael ;
and he mentions with distinction a picture by him,
in the sacristy of the cathedral at Messina, repre-
senting the ' Death of the Virgin.'
MESSINESE, II. See Avellino, Giulio d'.
MESSMER, Fbanz, was born at Antholz, in the
Puster Valley, in 1729, and studied under Martin
von Mytens, and was one of the best portrait
painters of his time. In 1765 he was at the court
at Innspruck, and in 1767 became a member of the
Academy at Vienna, where we meet with his por-
trait of Schmutzer. He died at that city in 1773.
Schmntzer engraved after him the portrait of J.
von Sonnenfels.
MESSYS. See Massys.
METGEK, J. J., is the name of an engraver,
aflixed to a portrait of Cardinal Giovanni Nitardo,
in Priorata's 'History of the Emperor Leopold,'
published in 1672.
METHODIUS, a monk of the Order of St. Basil,
who in 863 went with St. Cyril to the court of the
Duke Eatislaus of Bulgaria. He studied painting
at Rome, and was employed by the Duke to
decorate his palace with pictures. Whereupon the
artist, we are told, painted a ' Last Judgment ' with
such power as to cause the Duke and his subjects
to be baptized on the spot I
METRANA, Anna, according to Orlandi, was a
native of Turin. She flourished aboutthe year 1718,
and distinguished herself as a painter of portraits.
METKODORUS, the elder, was a Greek painter,
philosopher, and probably writer on art. He
flourished about B.C. 168. He was painter to
Lucius Paulus JEmilius, the conqueror of Perseus
of Macedonia, and tutor to his children.
METSU, Gabriel, a Dutch painter of genre,
was born at Leyden in 1630. He was the son of
Jacob Metsu, a native of Belle in Flanders, and of
his third wife Jacomina Garnijerns, widow of a
painter, Willem Fremault. His first teacher in
art was probably his father, but he afterwards
studied under Dou, though in his style he more
resembled Terborch,for his pictures deal, as a rule,
' with the more refined sides of domestic life. In
1648 he was admitted into the Painters' Guild at
Leyden, but two years later he left that city and
went to Amsterdam, where he probably spent the
rest of his life. In 1658 he married Isabella Wolff,
and had to submit to the operation of lithotomy.
Twelve months later he obtained the rights of a
citizen of Amsterdam. He was buried at Amster-
dam on the 24th October, 1667. His pictures are
to be found in all the principal European galleries,
as the subjoined list will show.
Amsterdam. Museum.
Berlin.
Brunswick.
Brussels.
Cassel.
Gallery.
Museum.
Gallery.
Dorking. Deepdene.
Dresden. Gallery.
Dulwich.
Gallery.
Florence.
Uffizi.
Hague.
Gallm-y.
London.
Nat, Gallery,
»>
»
;; ^
•idgeioater Ho.
1)
Suckingham
Palace,
„ Hertford House.
Madrid. Gallery.
Montpellier. Museum.
Munich.
Gallery.
Paris.
Louvre.
Pesth. Gallery.
Petersburg. Hermitage.
Eotterdam. Museum.
Vienna. lielredere.
Czernin Coll.
The Breakfast.
The Old Toper.
An Old Woman.
The Sportsman's Present. {In
the Van der Hoop Collection.)
The Family of the Merchant
Gelflng.
The Cook.
Portrait of a Lady.
A Dutch "Woman.
The Luncheon Party.
A Woman purchasini; Game.
A Young Woman giving Alms.
A Young Woman playing a
Lute.
The Letter.
The Letter-writer.
A Man and his Wife in an Ale-
house.
A Poultry-seller offering a Fowl
to a Lady.
An Old Woman bargaining with
a Poultry-woman.
The Game-seller bargaining with
a Cook.
A Man smoking by a Fire.
A Young Woman with a Lace
Cushion.
A Woman reading a Letter.
Old Woman eating (ascribed to
Brekelenkamp).
Domestic Scene.
A Lady and a Cavalier.
The Huntsman.
The Amateur Musicians.
Justice protecting the Widow
and Orphan.
The Duet.
The Music Lesson.
The Drowsy Landlady.
The Fish-wife.
A Lady caressing her Lap-dog.
The Stirrup Cup.
[ A Lady with a Wine-glass.
A Man playing and a Lady.
Le Corset bleu {a copy).
The Artist painting.
Four good Pictures.
A Dead Hen.
The Writer.
Fisherwoman.
A Cook with a Fowl.
A Feast.
The Woman taken in Adultery.
The Vegetable Market at Am-
sterdam.
An Officer entertaining a Young
Lady.
The Music Lesson.
The Chemist at a Window.
A Dutch Woman.
A Dutch Cook.
Portrait of AdmiralVan Tromp.
A Man and a Lady.
Interior of a Public-house
(known as 'The Prodigal
Son ').
The Sick Woman.
The Concert.
The Breakfast of Oysters.
The Eepast.
A Priest in his Study.
The Lace-maker.
The Smoker.
143
Metsys
A BIOGEAPHICAL DICTIONARY OF
]SIeuB
METSYS. See Massys.
METTAY, Pierre, a painter, was a native of
Normandy, and a pupil of Boucher in Paris. He
afterwards studied at Rome, and became a member
of the Paris Academy. He painted genre pictures,
mythological and historical scenes, and sea-views
after the style of Vernet, several of which were
engraved. He died about 1760.
METTENLEITER, Johann Evangelist, an en-
graver, the nephew of Johann Michael Mettenleiter,
was born at Grosskuohen in 1792. He studied
under his uncle.
METTENLEITER, Johann Jakob, was born at
Grosskuohen, Wiirtemberg, in 1750. He went to
Spiers and Holland, where he enlisted as a soldier
for the Cape. After his return he established him-
self for a time at Augsburg, but went to St. Peters-
burg in 1786, and died there in 1825. Some
of his paintings are in the Augsburg Cathedral,
viz., a ' Resurrection ' (1785) and two conversation
pieces, with portraits of the Von Oberwexer Family.
As an engraver he executed among others the
following plates :
A Peasant with a Hat and Stick.
Peasant at Table with Jug and Pipe ; after D. Teniers.
Peasants Drunli and another Laughing; afta- the same.
METTENLEITER, Johann Michael, was born
at Grosskuohen, Wiirtemberg, in 1766, and ac-
companied his brother Johann Jakob to Rome
when only ten years of age, but returned after-
wards to Augsburg. He continued his studies
under Dorner at Munich in 1782, and next etched
for the bookseller Strobel at Augsburg, and in
1790 became court engraver. The paintings in
the Hirschgarten at Munich are by him. He en-
graved in the style of Chodowiecki ; amongst
others four plates for the ' History of Germany '
by Klein, and many plates from Bavarian history
for Westenrieder's Almanac (1787—1816). He
signed with his full name, or the initials J MM, or
a monogram. He died at Pockau in 1853.
METZ, Cakolinb M. , subject painter, the daughter
of Johann Martin and sister of Conrad Metz. She
came to London with her family, and there her
works, which appeared at the Academy from
1773 to 1794, included portraits, fruit, and land-
scapes.
METZ, Conrad Martin, an eminent engraver in
the chalk manner and in aquatint, was born at
Bonn in 1755, but received his education in art in
London, under Bartolozzi. His principal works are
imitations of and facsimiles from the drawings of
the old Italian masters, of which be published a
great number. In 1801 he left England for Rome,
where he continued to exercise his ready talent at
imitation, and otherwise engraving from works of
the highest order till the time of his decease, which
occurred in London in 1827. One of his chief
works was Michelangelo's ' Last Judgment,' in
twelve plates (1808).
METZ, Franz, a Benedictine brother of the
cloister of Prifling near Rheims, who went to
Seeben in the Tyrol about 1630, and painted three
altar-pieces. In the library at Innspruck is the
drawing of a ' Magdalene ' by this artist.
METZ, Gektraud, a flower painter, was the
daughter and pupil of J. M. Metz of Cologne. She
studied at the Academy of Diisseldorf about 1766,
and with her father and brother came to England
soon after. She painted some figure pictures,
besides flowers, fruit, and insects.
144
METZ, GusTAV, painter and sculptor, was born
at Brandenburg in 1817. He first tried sculpture
under Rauch at Berlin, and followed his school-
fellow Rietschel to Dresden, but being disappointed
in his hopes of obtaining the grand medal of the
Berlin Academy, he devoted all his attention to
painting. Metz died of a severe attack of cholera
in 1853, in London. A 'Betrothal of Tobias' by
him is in the Berlin National Gallery.
METZ, Johann Martin, was born about 1730,
and was received a member of the Guild at
Cologne in 1768. He was long court painter to
the Elector Clemens August at Bonn, and made
drawings of his castles, which were engraved by
Nikolaus Mettel and Peter Wyon ; but he especially
distinguished himself as a painter of flowers. In
1771 he went to England, and died about 1800.
Several of his still-life and genre pieces are at
Cologne, in the Wallraf-Eichartz Museum.
METZGER, Cheistoph, an engraver of Frank-
fort on the Main, who lived in the latter part of
the 17th century.
METZGER, Johann Jakob, a German engraver
who flourished in 1670. Six portraits engraved by
him are known.
MEUCCI, Vincenzo, was born at Florence in
1694, and studied under Giachetto Fortini and
Sebastiano Galeotti at Piacenza, and Giuseppe dal
Sole at Bologna. He died in 1766. Gregori en-
graved a ' Madonna ' after him. He has left the
following works among others :
Florence. Gerini Gall. A Ceiling with the History of
Achilles.
„ S. Lorenzo, Frescoes in the Cupola.
MEULEMANS, Adriaan, (Meulmans,) a painter,
was born at Dordrecht in 1766. He studied with
Versteeg. He lived at Dordrecht, and painted
water pieces, night scenes, and cabinet pictures.
He died about 1834.
MEUNIER, Louis, (Meusnier, or Musnier,) an
architectural designer and engraver, flourished
about 1665. His prints, which number eighty-six,
consist of landscapes and architectural views in
Spain, Portugal, Italy, France, and Belgium, in all
of which countries he appears to have travelled.
His manner of engraving resembles that of Perelle
and I. Silvestre, and in some of his pieces that of
Thierry Stoop.
MEURER, Joseph, was born at Miinster, West-
phalia, about 1740, and was instructed in the art
of painting by an artist at Frankfort. He next
studied in Paris, and afterwards lived at Miinster
and Verden, but his works, representing still-life,
landscapes, devastations by fire, genre, mythology,
scenes from the Bible, and poi-traits, seem modelled
on Rembrandt. He died at Verden in 1817. He
etched several plates, among which the best are :
The Boy with the Bird.
The Hermit praying.
Andromeda.
MEURS, Cornelis Hubert tan, an engraver,
was a nacive of Holland, and resided at Amsterdam
about the year 1760. According to Basan he en-
graved several plates after Mieris, Van der Werf,
and other masters.
MEURS, Jakob van, an engraver, was born
at Amsterdam about 1640. His name is affixed
to a portrait of Tycho Brahe, the astronomer.
He was cliiefly employed by the booksellers, and
engraved several frontispieces, &c.
MEL'S, Livius, or Lieven. See Mehus.
Ueusnier
PAINTERS AND ENGRAVERS.
Meyer
MEUSNIER, Philippe, a French painter of
perspective and architectural views, was born in
Paris in 1655. He was a scholar of Jacques Rous-
seau, and on leaving that master went to Rome,
where he passed several years in the study of
painting and in other work. On his return to
Paris he was patronized by Louis XIV. and his
successor. In 1680 he executed the decorations of
the roof of the chapel at Versailles. He became
a member of the Royal Academy in Paris in 1702,
one of its council in 1703, and its treasurer in 1719.
He died in I'aris in 1734. His son Philippe, a
pupil of Largilliere, died in England.
MEVES, Augustus, a miniature painter who
practised in the 19th century. He died in Shore-
ditch in 1818.
MEVIUS, JoHANN Geoeq Ambbos, was a land-
scape painter, native of Frankfort on the Main.
He was born in 1710; and when he was sixty years
of age he went to Amsterdam, where he died.
His son JoHANN Fbiedrioh was born at Worms
in 1727, and died about 1796. He also painted
landscapes.
MEYER, Andreas, according to Professor Christ,
was a native of Zurich. He is said to have
been a painter, and to have engraved some views
of towns, which are marked with a curious mono-
gram "^ •
MEYER, Christian Gottlieb, a painter, was
born at Dresden in 1730, and died in 1755. He
was court portrait painter.
MEYER, C. H., painter, was bom at Aurich in
Bast Friesland. He studied at the Academy of
Berlin. He painted views and landscapes, and
died in 1836.
MEYER, Daniel, painter and etcher, was born
at Frankfort in 1570, and died there in 1630. The
following etchings are by him :
Eighty plates, ' Arohitectura, Vonn Austheylung der
fiinff Sealen,' published in 1612.
Fifty plates, 'Arohitectura, oder Yerzeiohniss aller-
hand Binfassungen an Thiiren, Fenstern. AUes
erstlichen new erfunden und geetzt durch Daniel
Meyern, Mahlem vu Biirgern zu Franltfurt am Main
MDOIX, neu aufgelegt im Jahr 1659.
MEYER, Dietrich (or Theodoe), a Swiss painter
and etcher, was born at Eglisau in 1572, and
obtained a reputation for portraiture, historical
and glass painting, as well as by several designs
in Indian-ink and black and red chalk. A series
of plates which he published in 1599 show that at
that time he had not yet discovered the " soft etch-
ing-ground " which at a later period he employed
in all his plates. He died at Zurich in 1658.
The following are the best of his plates :
Six plates of Peasants dancing.
A Festival Procession with fireworks, in Paris, on the
occasion of a Double 'Wedding between members of
the French and Spanish Courts.
Six plates of Mythological figures.
He used the monogram ^f\_-
MEYER, Elias, a flower and landscape painter,
was born at Copenhagen in 1763. He was a
fellow of the Academy, and died in 1809.
MEYER, Ernst, genre painter, was born at
Altona in 1795. He attended the Academy at
Copenhagen, studied at Munich under Cornelius,
went in 1824 to Naples and Amalfi, and settled in
1833 at Rome. He became a member of the
Copenhagen Academy in 1843, and died at Rome
in 1861. There are by him :
VOL. II. L
Berlm. Wat. Gallery, A Lazzaroni Family. 1831.
Copenhagen. Thorwaldr ) ~ t • ^
sen Museum. S^^^^'^^^"'^'^''^^-
Stuttgart. Bosenstein. A House at Tivoli.
MEYER, Felix, painter and etcher, was born at
Wmterthur in Switzerland in 1663. He was the
son of a clergyman, who was desirous of bringing
him up to the Church; but his inclination for'
drawing interfered with his studies, and he was at
length permitted to indulge his propensity. He
possessed an uncommonly fertile imagination, and
an extraordinary readiness of hand, of which he
ninde the fullest use. Decamps says that during
his travels through Germany, he visited the famous
Abbey of St. Florian just when two halls had to be
decorated in fresco. An obscure artist of the
neighbourhood, who had been apphed to, had taken
months to prepare a scheme, while Meyer, in the
course of a few minutes' talk with the abbot,
sketched out a complete series of pictures, drawing
them in the while on the blank wall with a piece of
charcoal tied to a stick. In the result he was en-
gaged to carry out the work. There is an excellent
landscape by Meyer in the Belvedere at Vienna.
Meyer had his figures inserted usually by M. Roos
and G. P. Rugendas. He died at Weyden in 1713.
He etched several plates from his own designs.
Among them are :
A set of twelve Views of Switzerland ; Felix Meyer fee.
Four Landscapes, with ruius and figares : same siqvMwre.
1701.
Four Views in Switzerland, with figures.
Four Mountainous Landscapes, with buildings.
The Falls of the Ehiue.
MEYER, Franz Anton, (or Mbybrle,) was born
at Prague in 1710. According to Lanzi he resided
several years at Turin, where he took the name of
Francesco Antonio Meyerle. He painted small
highly-finished pictures of domestic subjects and
portraits, and was less successful when he painted
on a larger scale. He passed the latter part of
his life at Veroelli, where many of his works are
to be foimd. He died in 1782.
MEYER, Geoeg Fbiedrioh, painter, was born
at Mannheim in 1735. His first master was Daniel
Hein, and th6n he went to Paris, where he studied
under Casanova, and had the good fortune to meet
with Duke Christian IV., who took him with him
to Mannheim, where in the summer he studied
nature on the banks of the Rhine and Neckar, and
in the winter pursued his studies at the Academy.
He died in 1809.
MEYER, Hendrik, (Meijer,) a landscape and
cattle painter, chiefly in water-colours and tempera,
was born at Amsterdam in 1737. He was one of
the directors of the Academy at Haarlem, where
he resided. Late in life he became implicated in
the Revolution of 1788, and had in consequence to
leave Holland, upon which he visited England, in
company with W. Hendriks, the painter of dead
game, and estabhshed himself in London, where
he died in 1793. He had exhibited at the Academy
in the two previous years, executing principally
Dutch scenes. His landscapes were in the style
of Izaak van Ostade.
MEYER, Henry, born in London in 1782, was
a nephew of Hoppner and a pupil of Bartolozzi.
He engraved in mezzotint and in the dotted manner,
and was very skilful in his management of por-
traits, on which he was principally engaged. He
was one of the foundation members of the Society
of British Artists, and contributed to some of their
145
Meyer
A BIOGRAPHICAL DICTIONAEY OP
Meyerheim
exhibitions from 1824 (their first) to 1831. In the
latter portion of his career he sometimes drew
portraits, and that with great success. He died in
1847. Among his plates there are :
Admiral Nelson and Lord Cathcart ; after Hoppner.
The Princess Charlotte and Prince Leopold; after
Chalon.
Miss O'Neal in the character of Belvidera ; after Devis.
Mr. Mathews in various characters ; a/to" Harluwe.
Sir John NichoU ; after Owen.
Mary anointing the feet of Jesus ; after Hilton.
Sir Koger de Coverley ; after Leslie.
The Proposal and the Congratulation ; after Marlowe.
The Stolen Kiss ; after Kidd.
The Dancing Bear ; after Witherington.
MEYEE, Jeremiah, (or Meibe,) English minia-
ture painter, was born at Tubingen, in Wurtem-
berg, in 1735. He came to this country with his
father at the age of fourteen. He was long a
member of the St. Martin's Lane Academy. In
1757-8 lie had two years' pupilage under Zincke,
for which he paid £200 premium. In 1762 he was
naturalized, and in 1764 appointed on the house-
holds both of the King and Queen. On the founda-
tion of the Royal Academy in 1769 he was invited
to become a member, and for fourteen years he
was a constant contributor to its exhibitions.
Meyer was a great student of Reynolds, from
whom he caught not a little of his grace and
refinement, and some of his power as a colourist.
His miniatures were among the best of their
time. Meyer married Barbara Marsden, herself
an artist of some ability. He died at Kew in 1789.
MEYER, Joachim, was a native of Strasburg,
and flourished about the year 1570. We have by
him a set of sixty-two woodcuts, representing
combats with the sword.
MEYER, JoHANN, was probably of the same
family with Dietrich Meyer. He was a painter,
and usually resided at Nuremberg. We have
several prints by him, some of which are from his
own designs. Among others, a set of battles,
etched in a spirited style. He also engraved a set
of the principal fountains at Rome, which were
published at Nuremberg in 1600.
MEYER, JoHANN, the sou of Konrad Meyer, was
born in 1655. He was a painter and engraver. He
died in 1712. Nagler gives a long list of his plates.
MEYER, JoHANN, flower painter, was born in
Switzerland in 1614, and died in 1666.
MEYER, JoHANN Heinrich, also called Goethe-
Meyer, was born at Stafa on the Lake of Zurich
in 1760. He was first instructed by Johann Kaspar
Fiissli at Zurich, from whence he returned home
and studied by himself in 1781-4. He went to
Italy in the latter year, and there made Goethe's
acquaintance in 1786. At Naples, which city he
visited in 1787, he studied the collections of the
old vases and antiquities of the Museum at Her-
culaneum. From Rome, where he went in 1788,
he returned to Switzerland in 1789, and became
drawing-master at the Academy at Weimar in
1792. He undertook a second journey to Italy in
1795, and stayed principally at Rome and Florence.
He returned to Weimar in 1797, and shortly after
gave himself up to writing upon art. He assisted
Goethe a great deal in his works upon art, and was
also in communication with Schiller. He died at
Jena in 1832. His productions as an artist consist
chiefly of water-colour and other drawings from
antique remains, or from the works of the great
Italian painters.
146
MEYER, Johann Heinrich Ludwig, (or Meijek,)
painter, was born at Amsterdam in 1819. He was
a pupil of Jan Willem Pieneman. During the
early part of his career he devoted himself to
landscape and history. In 1843 and 1844 he ex-
hibited with success at the Salon, and in 1855 was
awarded a prize at the Paris International Exhibi-
tion. He died in 1866 at Utrecht. Among his
best productions we may name :
A Storm in the Channel. {Amsterdam Museum.)
Burning of the ' ludia ' at Sea.
Dutch Vessels off Flushing.
A Ship striking on the English Coast.
A Storm off Soheveniugen.
Shipwreck on the Dutch Shore.
MEYER, Johann Jakob, born at Zurich in 1749,
was a designer, painter, and engraver, and was
instructed in art by Balthasar Bullinger and Joh.
K. Fiissli. He came afterwards to Vienna, and
worked a great deal for the Hungarian nobihty.
He died in 1812.
MEYER, Konrad, the elder, the younger son of
Dietrich, and the younger brother of Rudolph
Meyer, was bom at Zurich in 1618. After receiv-
ing some instruction from his brother Rudolph
and L. Stadler, he went to Frankfort, where he
became a scholar of Matthaus Merian, and studied
the works of Bloemaert, Jordaens, and Sandrart.
Subsequently he went to Augsburg, and in 1643 to
Zurich, in both of which towns he was chiefly
occupied in the painting of portraits, including
that of his father, which is considered his best.
He died at Zurich in 1689. As an engraver he
may be considered as one of the most laborious
artists of his time, and the number of his prints
is very considerable. Kaspar Fiissli, who had
endeavoured to collect an entire set of them, had
got together upwards of 900, without having
them nearly complete. Among the best we may
enumerate :
A series of ninety portraits of his fellon -citizens.
A series of 103 portraits of writers and churchmen.
A * Dance of Death ' (61 plates).
The ' Mirror of a Christian ' (15 plates).
The Sports of Children (26 plates).
The ages of Man (10 plates).
Scenes from the New Testament (102 plates).
Meyer used the signatures C M fecit, G. M f, &c.
MEYER, Ludwig, called Meter of Knonau, was
born at Knonau in 1705. He was an engraver, and
painted portraits and landscapes. He died in 1785.
MEYER, Melohior, the unknown author of a
plate of ' Apollo and Marsyas ' (Bartsch xvi. 146).
MEYER, Rddglph, the son and scholar of
Dietrich Meyer, was born at Zurich in 1605, and
died in 1638. He painted history and portraits,
but was more distinguished as an engraver than as a
painter. We have by him several plates of emblem-
atical subjects and portraits, some of which were
published with those of his brother Konrad. He
made the desii^ns for the ' Dance of Death,' which
were engraved by Konrad.
MEYER, Wilhelm, was bom at Zurich in 1806,
and studied decoration under S. Quaglio at Munich.
In 1833 he worked at Nuremberg, and from 1837
to 1840 at Zurich, Berne, and Lucerne. He sub-
sequently visited Italy and Spain, and in these
countries devoted himself to architectural painting,
in which branch he became deservedly esteemed.
He died at Zurich in 1848.
MEYERHEIM, Eduard Feanz, who was born
at Berlin in 1838, first studied painting under his
father F. E. Meyerheim, and in the Academy at
Meyeringh
PAINTERS AND ENGRAVERS.
IVEezzadri
Berlin, but afterwards travelled much in search of
subjects for his pictures, which are mostly of a
genre character. For a short time he held the
post of professor of anatomical drawing at the
Berlin Academy, but in 1878 his ill health com-
pelled hira to resign, and he died in 1880 at Marburg
on the Lahn. The following are a few of his best
works :
Children and Cats. 1859.
Maternal Love. 1862.
Market Day. 1863.
The ToHng Mother. 1866.
Hessian Peasant Family. 1868.
MEYERINGH, AALBERT,(MEijERiNGH,)was born
at Amsterdam in 1646. He was instructed in the
elements of design by his father, Frbderik Meijee-
INGH, who was chiefly employed in painting screens,
and other articles of furniture. Albert was, how-
ever, destined to exercise his talents in a higher
Une. Whilst he was yet young he formed the
project of travelling in search of improvement,
and before he was twenty years of age he visited
Paris, where he resided some time, but with no
great encouragement. By assiduity and labour he
procured the means of continuing his journey to
Italy, where his abilities procured him the esteem of
Jan Glauber and others, and he met with suflBcient
employment to induce him to reside for some time at
Rome. On his return to Holland, after an absence
of ten years, he was employed by William, Prince
of Orange. His views are agreeably varied, and
are frequently embellished with the ruins of
ancient architecture, and decorated with figures
representing historical or fabulous subjects, in the
style of Gerard de Lairesse. He died at Amster-
dom in 1714.
MEYERLE. See Meyer.
MEYLENER, P., a little known Dutch painter
of landscapes. He flourished about 1645.
MEYNERT, Claes, was commissioned in 1507
to paint a St. Matthew, for the Church of St. Bavon,
at Haarlem, for the sum of 40 florins.
MEYNIEE, Charles, a French historical and
battle painter, born in Paris in 1768. He studied
under Vincent, and shared the prix de Rome with
Girodet in 1789. The Revolution, however, caused
his premature return from Italy, and he im-
mediately began to practise in Paris. Much of
his time was engaged in decorative work. He
painted several frescoes for the Louvre and for
the Paris Bourse. He was elected a member of
the Institute in 1815, and in 1822 was decorated
with the Legion of Honour, becoming an officer in
1830. Two years later he died in Paris of cholera.
Amongst his chief works are :
Amiens. Museum. CEdipus. 1814.
Bordeaux. Museum. Erato. 1800.
Montpellier. Museum. Timoleon.
Paris. Louvre. Phorhas and CEdipus. 1814.
St. Denis. Cathedral. Dedication of rit. Denis. 1812.
St. Mand^. St. Michael conquering Satan.
Versailles. Gallery. Bestoration of its colours to
the 68th Regiment at Inns-
pruok. 1808.
„ „ Entry of the French into Berlin.
MEYSSENS, CoRNELis, (Mytens, &c.,) the son
of Jan Meyssens, was bom at Antwerp about the
year 1640, and was instructed in engraving by his
father. His principal plates are portraits, many
of which are from the designs of Jan Meyssens.
They are executed with the graver, in a stiff,
tasteless style. He also engraved several frontis-
L 2
pieces, and other book ornaments. The following
are his best works :
A set of Portraits of the Austrian Emperors ; entitled
' Effigies Imperatorum domds Austriac^, delineatsB
per Joannem Meyssens, et seri insoulptra per filium
suum Cornelium Meyssens.'
The Portraits of the Sovereign Princes and Dukes of
Brabant ; entitled, ' Les Effigies des Souverains
Princes et Dues de Brabant.' A part of these are
engraved by P. de Jode, "Waumans, and others.
SINGLE PORTRAITS.
Charles 11. ; for the History of Leopold.
Octavius, Duke of Aremberg ; C. Meyssens so.
Cardinal Antonio Barberini.
Cardinal Einaldo, Principe Estense.
John de "Witt, Grand Pensionary of Holland.
David, Count of Weissenwolil, &c.
MEYSSENS, Jan, often confused with Aart
Izaah Mytens, was a Flemish painter and en-
graver, born at Brussels in 1612. He was first
a scholar of Anthonie van Opstal, and afterwards
of Nicolas van der Horst, both obscure artists.
He attempted both historical subjects and portraits,
but was generally employed in the latter. The
greater part of his life was passed in Holland. For
many years he resided at Amsterdam, where he
carried on an extensive commerce in prints, and
engraved many plates from his own designs, as
well as after other masters, among which are
several portraits of artists. He died about 1670.
Among his plates we may name :
Portrait of Charles 1.
Portrait of Henrietta Maria, his Queen.
Portrait of Heudrik de Keyser, architect and sculptor ;
J. Meyssens fee.
Portrait of Guide Eeni ; se ipse pinx. J. Meyssens fee.
Portrait of Francesco Padovanino, painter ; se ipse pivx.
Portrait of Daniel Segers, flower-painter ; after Lievens.
Portrait of Cornelis de Bie ; after Eras. Quellinus.
Portrait of "William de Nieujant, painter.
Portrait of Mary Ruthven, wife of A. van Dyck ; after
Van Dyck.
Portrait of himself ; se ipse pinx.
The Virgin and Child ; after Titian.
Meleager presenting the Boar's Head to Atalauta ;
after Rubens.
MEYTBNS, Martin van, (Mijtbns or Mytens,)
a Swedish painter, was born at Stockholm in 1695
or 1698. He was instructed by his father, Peter
Martin Meytens, and visited for improvement
Holland, England, and France. In the last country
he learned enamelling under Boit, and painted at
Paris the portrait of the Duke of Orleans, Louis
XV., and the Czar Peter. Subsequently he was
employed by August I. at Dresden. In 1721 he
went to Vienna, afterwards to Venice and Rome,
and there studied oil painting. On his return to
Vienna in 1726 he became painter to the emperor,
and in 1769 director of the Academy. He died at
Vienna in 1770. Though his portraits were good
likenesses, he followed the taste of his time in
other respects, and fell into mannerism. There is
an equestrian portrait of the Emperor Charles VI.
by him in the National Museum at Stockholm.
MEYVOGEL, Matthieu (?), a Dutch painter
who was at work in Rome early in the 17th century.
MEZIOS, M., is mentioned by Strutt as having
engraved a few portraits ; among others, that of
a physician and poet, Joannes Petrus Lothicus,
prefixed to his works, which were published in
1626.
MEZZADRI, Antonio, was a native of Bologna,
and flourished about the year 1688. According to
Lanzi he excelled in painting fruit and flowers.
147
Hezzastri
A BIOGRAPHICAL DICTIONARY OF
Hiclielangelo
MEZZASTRI, PlEE-ANTONiO, born at Foligno in
1457, painted in fresco in the churches of that
town. He died at Fohgno in 1606. His 6on
Beenabdino Mezzastki followed the art of his
father.
MICARINO (Mecabino, &o.). See Beccafdmi.
MICCO, Spadaeo. See Gaegitjoli.
MICHAEL, Master. See Sohwaez.
MICHAELIS, Geeaed Jan, a Dutch landscape
painter and engraver, was born at Amsterdam in
1776. He was a pupil of Jurian Andriessen, and
the miniature painter G. N. Bitter. He died at
Haarlem in 1857.
MICHAELIS, J. W., an engraver, resided at
Frankfort about the year 1700, and engraved
several heads for a work entitled, ' Notitia Univer-
Bitatis FranoofertanEB,' published in 1707.
MICHALLON, Achille Etna, a French land-
scape painter, born in Paris in 1795. When quite
young he lost his father, the sculptor Claude
Michallon. At the early age of fifteen his pictures
attracted attention, and he received a pension from
the Russian Prince Issoupoff. His studies were
directed by David, Valenciennes, Bertin, and
Dunouy. Re was but sixteen years of age when
he obtained a second class medal at the Salon of
1812. Five years after he won the grand prix for
his ' Democritus and the Abderans.' After a stay
of four years at Rome he returned and settled
down in Paris to the practice of his profession.
The promise of his career was, however, cut short
by his premature death, which occurred in Paris
in 1822. Amongst the few works which he left
are :
Landscape near Frascati. 1822. {Louvre.)
The Isle of LemDos. 1822. (Montpellier Miiseum.)
Eoland at Eoncesvalles.
The Centaurs and the Lapithse.
MICHALOWSKI, a Polish water-colour painter
of military scenes, was horn at Cracow in 1804.
He took refuge in Prance, where he became
the friend of Horace Vernet and Charlet. He
died in 1855.
MICHAU, Th:^obald, was born at Toumay in
1676, but resided chiefly at Brussels. He studied
under W. Schellinks, and painted landscapes and
merry-makings, in which he imitated Pieter and
Jan Breughel, David Teniers, and Pieter Bout.
In 1699 he was residing at Brussels, and was
received into the Corporation of St. Luke. He.
died at Antwerp in 1756. There are by him :
Augsburg. Gallery. The Ford.
„ „ The Cattle Market.
„ „ A Fair.
„ „ March of Troops.
„ „ Street Scenes.
Vienna. Belvedere. Several paintings.
MICHAULT, Georges, a French engraver, was
born at Abbeville in 1752. He was a pupil of
Frangois Aliamet, and engraved several plates in
the style of his instructor ; among them some
views in the neighbourhood of the Pare Monceau,
Paris. He died about 1810. We have also the
following by him :
Acis and Galatea ; after Lafosse.
The dead Christ ; after Schiavone ; in the Orleans
Gallery.
MICHEL, Geoeges, landscape painter, was
born in Paris about 1763. His father was em-
ployed in the Paris markets, but his son found
a protector who placed him, in childhood, in the
148
house of a village curate on the plain of St.
Denis, and afterwards apprenticed him to the
painter Leduc. When he was sixteen, Michel
formed an alliance, it is uncertain whether a
legal one or not, with a girl of his own age,
who bore him eight children before he was out
of his first youth. In 1827 she died, when he
married Anne Maria Charlotte Olaudier-Vallier, who
survived him, and to whom we owe most of what
is known of his life. This seems to have been a
sufficiently adventurous one in a small way. At
one time he was the painting companion of Louis
Bruandet, at another he was living in the house
of a noble amateur, whose pictures he finished.
His favourite subject was the great plain which
stretches from Montmartre out to the north of St.
Denis. There he found subjects for the hundreds
of pictures which he left behind, and which are
only now emerging from obscurity. As a rule
they are painted on prepared paper, and in style
may be compared, at a respectful distance, to the
work of Old Crome. In spite of the small prices
he received, Michel contrived to pass his life in
modest comfort. He died in Paris in 1843. The
following two pictures are to be seen in the new
gallery at the Luxembourg :
Aux environs de Montmartre,
Int^rieur de F6ret. ■^ ^
MICHEL, Jean Baptiste, an engraver, was horn
in Paris in 1738 or 1748. He is said to have been
a scholar of Chenu, whom he greatly surpassed.
He came to England about the year 1780, and was
employed on several plates for Boydell. He died
in 1804. The following are his principal prints:
poeteaits.
Sir Thomas Gresham ; after Sir A. More.
Eubens's Wife ; after Rubens.
Frans Hals ; after a picture hy- himself.
La Joconda ; after Leonardo da Vinci.
M. F. A. de Voltaire.
SUBJECTS AFTEE VAKIOUS MASTERS.
Two prints of the Bath of Venus ; after Boucher.
The Death of Dido ; after M. A. Challes.
The Death of Hercules ; after the same.
Abraham, Sarah, and Hagar ; after Pietro da Cortona.
The Prodigal Son ; after Salvator Rosa.
Hercules and Omphale ; cifter Somanelli.
Venus and Cnpid ; after Carlo Maratti.
The Death of St. Joseph ; after Velazquez.
The Three Graces ; after Subens.
Faith, Hope, and Charity ; after the same.
The Nativity ; after Carlo Cignani.
The Adoration of the Shepherds ; after Guido.
Clytie ; a circular print ; after Annib. Carracci.
Cupid stung by a Bee ; after West.
Alfred dividing his last Loaf with a Pilgrim ; after the
sanne.
The Continence of Alfred ; after the same.
MICHEL, Jean, a French historical painter, who
flourished at Rouen in 1564. In conjunction with
his father he executed a picture for the church of
St. Jean at Rouen, representing the ' Passion.'
MICHEL, Louis, (Michiel,) a fruit and flower
painter, flourished at the Hague in 1675. He was
a pupil of Wieling and Hermann Verelst.
MICHELANGELO. See Buonaeeoti.
MICHELANGELO, Feancesoo, called II Aqui-
LANo, was an historical painter, who flourished at
Aquila in 1700. He was a pupil of B. Luti. He
died young.j
MICHELANGELO da I-UCCA. See Anselmi.
Slichelangelo
PAINTERS AND ENGEAVEES.
Sliel
MICHELANGELO ' delle Battaglie.' Se
CmtQuozzi.
MICHELANGELO di Tode. See Eicciolini.
MICHELE DA PAEMA. See Eocca.
MICHELE DA PAVIA was an historical and
portrait painter, who flourished about 1460. In
1459 he worked for Pius II., and was painter to
the court of Mantua from 1458 to 1465.
MICHELE DA Verona, painted in that city at
the beginning of the 16th century. We know that
he existed because a series of frescoes and canvases
bearing his name have come down to us. Of these
the most important is a ' crucifixion ' dated 1500,
formerly in the refectory of San Giorgio at Verona,
but now in San Stefano, at Milan. Pictures by him
are also to be found in Sant' Anastasia, Verona ;
Santa Maria in Vanzo, Padua ; Santa Chiara,
Verona ; and in churches at Selare and Villa di
Villa, near Este. In his art he was allied but far
inferior to Cavazzola. His latest known picture is
' The Madonna enthroned,' at Villa di Villa, which
is dated 1523. There is a fair example of his work
in the National Gallery. The subject is the en-
counter between Coriolanus and his wife and
mother, Virgilia and Volumnia.
MICHELE DEL GHIRLANDAIO. See Bigoedi.
MICHELE DI MATTEO. See Lambbktini.
MICHELE, Ande^, called Vioentino, an his-
torical painter, was born at Vicenza in 1539. He
was a pupil of Palma the elder. He died in 1614.
At Florence there are by him ' The Queen of Sheba,'
' Banquet of Solomon,' ' The Visitation ' ; at Munich
' The Assembly of Crowned Heads ; ' at Paris ' The
Reception of Henri III. at Venice in 1574 ; ' and
at Brussels ' The Marriage of Cana in Galilee.'
MICHELE, Paerasio, was a native of Venice,
and flourished about the year 1590. He was a
pupil first of Titian and then of Paolo Veronese,
whose style he followed with some success. There
are several of his works in the churches at Venice ;
among them a ' Pieta ' in San Giuseppe. The
Aoademia has by him a portrait of a Venetian
noble.
MICHELIN, Jean, a French historical painter,
born at Langres in 1623. He died in Jersev in 1696.
MICHELINO DA MILANO, see Milano.
MICHELINO, DoM. di. See Domenico.
MICHELIS, Alexander, landscape painter, was
bom at Miinster in 1823. He entered the Academy
at Diisseldorf in 1843, and studied landscape
painting under Schirmer. He died at Weimar in
1868.
MICHEUX, Michel Nicolas, a French flower
painter, bom in 1688. He was received in the
Academy in 1725, and died in 1733.
MICHU, BenoIt, a Flemish historical and por-
trait painter, born in 1610. He settled in Paris,
where he died in 1703. His son did some work in
the chapel of Versailles.
MICIEE, Pedeo, was an Italian, who flourished
as a painter at Saragossa in the 17th century, and
amassed a considerable fortune, which at his death
he bequeathed to the churches for which he had
painted. One Pablo Miciee, an amateur, who
lived at the same time at Saragossa, seems to have
been a distinct person. Pedro died in 1659.
MICOCARD. Papillon mentions a woodcut by
this artist, representing 'Diogenes,' after Parmi-
giano. It is probably a copy of the print in
' chiaroscuro ' by Ugo da Carpi.
MICON, a Greek painter and sculptor, flourished
about 460 B.C., and assisted Polygnotus. He
painted ' The Battle of the Amazons ' and a part
of 'The Battle of Marathon' in the Pcecile at
Athens. He also painted some pictures in the
Temple of Theseus, but we have no account of
their subjects. He was an excellent painter of
horses. His pictures were purchased by the
Athenians at large prices.
MICONE, Nicolas, called II. Zoppo, an obscure
landscape painter, born at Genoa in 1750. He
was a pupil of Javella, and died in 1830.
MIDDIMAN, Samuel, a distinguished English
engraver, was born in 1750. He was a pupil of
Byrne, and is said to have also studied under
Woollett and Bartolozzi. His forte was in land-
scape, of which he left many beautiful examples ;
two of the large prints for Boydell's Shakspeare,
' A Scene from the Winter's Tale,' and the melan-
choly ' Jaques,' may vie with the productions of
Woollett. He engraved several other plates for
the same work, and landscapes after Berohem,
Gainsborough, Barret, Zuccarelli, and Hearne. He
exhibited at the Free Society in 1781, at Spring
Gardens in 1773 and 1775, and at the Academy
in 1780 and some of the subsequent years up to
1797, producing for 1780 some stained drawings.
His etchings also were much admired ; in this
branch he worked for Pyne. His ' Select Views
in Great Britain' (1784-92) is a charming work,
and was very popular both in England and on the
continent; it was followed in 1807-11 by 'Pictur-
esque Views and Antiquities of Great Britain.'
Middiman died in London in 1831.
MIDDLETON, Charles, was an architectural
draughtsman and engraver. From 1766 to 1790
he was a member of the Incorporated Society of
Artists, and up to 1790 contributed to the Royal
Academy. He published several works, and made
many designs. He died about 1818.
MIDDLETON, J. J., an English draughtsman
and landscape painter of the 19th century. In
1812 he published ' Grecian Remains in Italy.'
MIDDLETON, John, landscape painter, was
born at Noi-wich in 1828. He received lessons in
painting from J. B. Crome, and also from Stannard.
From 1849 to 1855 he was a fairly constant ex-
hibitor at the Royal Academy, and also at the
British Institution. He painted illustrations of
the seasons, especially of early spring. ' A Study
in March, on the Norfolk Coast' may be mentioned
as a specimen of his style. His death occurred
in 1856.
MIDIAS, a Greek painter, executed the design
upon the vase found in Campania representing
the Rape of the daughters of Leucippus by the
Dioscuri.
MIEL, Jan, (Miele, or Mbel,) also called
Bicker, and by the Italians Giovanni dblla Vitb
and Jamielli, was a painter and etcher, born in the
castle of Ulaerdingen near Antwerp in 1599. He
was a scholar of Gerard Seghers, and on leaving
that master went to Rome, where he attached him-
self to Andrea Sacchi, and was shortly entrusted to
assist his master in some of his most considerable
works. Being, however, employed by Sacchi to
co-operate with him in a picture for the Palazzo
Barberini, representing a Procession of the Cavalry
of the Pope, Miel, whose disposition naturally led
him to the grotesque, introduced something which
was deemed inconsistent with the gravity of the
subject. This occasioned a sharp rebuke, and a
consequent separation. Stung with the reproach
of his mastei', and encouraged by the advice of his
149
Mielicb.
A BIOGRAPHICAL DICTIONARY OF
Mieris
friend Bernini, Miel determined to improve and
strengthen his powers by visiting Nortii Italy for
the purpose of studying the works of Correggio and
the Carracci ; and he passed some time at Parma and
Bologna. On his return to Rome he was employed
by Alexander VII. to paint a picture of ' Moses
striking the Rock,' for the gallery of Monte Cavallo.
He also painted for the churches of San Martino
de' Monti, the ' Baptism of St. Cyrillio ' ; and in
Santa Maria dell' Animi, some frescoes of the life
of St. Lamberti, and the ' Annunciation.' His best
performances, however, are his easel pictures, re-
presenting fairs, markets, huntings, festivals of the
Carnival, and similar subjects. Miel was made a
member of the Academy of St. Luke in 1648. He
was invited to the court of Turin by Charles
Emanuel, Duke of Savoy, who retained him in his
service for the remainder of his life, and conferred
on him the order of St. Maurice. Miel died at
Turin in 1664. Le Bas, Beaumont, and others have
engraved after him. Among his extant paintings
are the following :
Berlin.
Gallery.
Landscape— a Dead Ass.
Dresden.
Gallery.
Shepherd Playing.
Madrid.
Gallery.
The Violin Player ; and others.
Paris.
Louvre.
The Beggar.
»
The Barber.
Landscape.
),
>»
Military Halt.
Eotterdam.
Gallery.
Italian Peasants.
„
»
Landscape,
Stockliolm.
Gallery.
Preaching of St. John the Baptist.
St. Petersburg. Her-
tivitage.
1 The Charlatan.
Peasant Dance.
'1
II
Italian Scene.
^»
)j
Mountain Landscape.
Jan Miel has etched several plates from his own
designs in a masterly style. He sometimes signed
with his name in full, and sometimes with a
monogram and date. We have the following by
him:
The Holy Family.
The Assumption of the Virgin.
A set of Four Pastoral Subjects ; in one of them a
figure seated on a bank, picking a thorn from his foot.
Three Battle Pieces ; for the History of the Wars in
Flanders, by Flaminius Strada.
MIELICH See MtiLicH.
MIBREVELT, Miohibl Janszen, (Mirbveldt,
&c.,) was born at Delft in 1567. He was the son
of a goldsmith, who, perceiving his disposition for
drawing, placed him under the care of Jerome
Wierix, with the intention of his becoming an
engraver. When he was twelve years of age he
executed a plate of ' Christ and the Woman of
Samaria ' ; and soon afterwards another of ' Judith
with the H«ad of Holofernes.' These juvenile
performances attracted the attention of Anthonie
van Montfoort, called Blocklandt, who persuaded
him to apply himself to painting, and offered to
receive him into his school at Utrecht. This in-
duced him to quit the graver for the pencil, and for
some years he studied historical painting under
that master. His first productions on leaving the
school of Blocklandt were some altar-pieces for the
churches at Delft ; but having painted the portraits
of some of the princes of the house of Nassau, they
were so universally admired, that he afterwards
met with continual employment in that branch,
and as he lived to an advanced age, he is supposed
to have painted a greater number of portraits than
any other artist of his country. He is said, by
150
Hague.
Gallery.
Berlin. Gallery.
Copenhagen. Gallery.
Delft.' Town Hall.
Dresden. Gallery.
Madrid. Gallery.
Paris. Louvre.
Rotterdam. Gallery.
Descamps, to have been invited to England by
Charles I., and to have declined the proposal on
account of the plague, which at that time raged
in London. Mierevelt entered the Guild of St.
Luke at the Hague in 1625, and died at Delft in
1641.
Amsterdam. Museum. Portrait of Prince Maurice.
„ „ „ Prince Frederic Henri.
Fredericb V., Prince
Palatine and King of
Bohemia.
„ „ „ the wife of Admiral
Tromp.
„ „ „ Jacob Cats.
„ „ „ General Smeltzing.
„ „ „ "William the Silent.
„ „ „ Prince Philip William.
„ „ „ John van Oldenbarne-
velt.
„ J. Uytenbogaert.
Portrait of WiUiam the Silent.
„ Louise de Colligry.
„ Prince Philip William .
„ Prince Maurice.
„ Prince Frederick Henry
— and four others.
Portrait of an old Woman.
Portraits of a Man and Woman.
Portrait of a young Lady.
Series of Pictures.
Several Portraits.
Portrait of a Woman.
A Female Portrait. (La Caze collec-
tion.)
Portrait of Philip of Nassau.
Portraits of Prince Frederic Henri
and his Wife.
„ „ Portraits of William the Silent
and his Wife.
„ „ Portrait of Maurice of Nassau,
and others.
MIEREVELT, Jan, the son of Michiel Mierevelt,
also a portrait painter, died insane in 1633.
MIEREVELT, Pieter, the son and pupil of
Michiel J. Mierevelt, was born at Delft in 1595,
and practised portrait painting in the style of his
father. One of his most esteemed works is a large
picture in the Hall of the Surgeons at Delft, con-
taining the portraits of the principal members of
that society at the time ; other productions of his
are at Brunswick, Copenhagen, and Dresden. He
died young, at Delft, in 1632.
MIERIS, Frans van, was born at Delft in 1635.
He was one of twenty-three children of his father,
who was a lapidary. In early youth he was appren-
ticed to the glass painter, Abraham Torenvliet,
whose studio he soon abandoned for that of Gerard
Dou, who called him the prince of his pupils.
Later on he studied historical painting under
Abraham Tempel. He painted genre pictures, and
loved to represent silks and satins, plate and jewels.
He was painter to the Prince, and in every way
he enjoyed the unusual good fortune of being
thoroughly appreciated during his life. His best
pictures, on the rare occasions of their changing
hands, fetch enormous prices. He died at Leyden
in 1681. Among his pictures are :
Amsterdam, Museum. The Letter.
„ „ The Lute Player.
„ „ Jacob's Dream.
„ „ The lost Bird.
Berlin. Museum. Portrait of a Young Man.
„ „ A Young Woman before a Glass.
Copenhagen. Gallery. An OfScer.
„ „ A Dutch Peasant's Room.
„ „ Three Portraits.
Dresden. Gallery. The Magdalen.
Mieris
PAINTERS AND ENGRAVERS.
Kietsch
Dresden. Gallery.
Florence.
Ugizi.
Hague.
Gallery.
London. JSat. Gall.
„ Buchingham Fal.
Collection of the Earl
of Dudley.
Montpellier.
Uunich.
Gallery.
Paris.
Louvre.
St. Petersburg. Herm.
Turin.
Tienna.
Gallery.
Gallery.
A Girl sitting at a Table.
A Lady playing the Lute.
An Old ■Woman placing a Pink in
a Flower-pot.
An Old Man.
A Soldier Smoldng.
A Young Lady with a Dog.
A Man in a Cuirass.
The Tinker.
A Man mending a Pen.
Portrait of Himself.
The Painter's Studio.
A Girl with a Parrot.
The Cloth Merchant.
Poetry.
Portrait of Himself.
Portrait of his Son Jan.
Portrait of Himself.
A Young Woman.
The old Lover.
An old Man and old Woman.
The Drinkers.
Portrait of Himself.
Portrait of Himself and his
Family.
Soap Bubbles.
Portrait of Florentius Sohuijl,
Professor of Medicine and
Botany at Leyden.
Portrait of Himself and his Wife.
A Lady in a Crimson Jacket.
Portrait of Himself and his Wife.
(Two versions.)
A Country Woman.
Soap Bubbles.
Le Chevalier Amoureux. (Pcr-
haps his master-jnece.)
Soap Bubbles.
Genre Scene.
A Soldier Smoking.
A Boy beating a Drum.
A Lady playing with her Dog.
The Sick Woman.
Portrait of Himself.
Portrait of a Woman.
The Painter talking to the Land-
lord of an Inn.
Interior of an Inn.
A Lady playing the Lute.
A Lady with a Parrot.
Interior of a Cottage.
A Lady at her Glass.
The Breakfast.
A Soldier Smoking and Drinking.
Portrait of a Man.
A Lady at her Toilet.
The Tea Party.
A Dutch Family.
An Interior.
An Oyster Breakfast.
A Peasant Woman with Eggs.
A Lady seated at a Table.
The Guitar Player.
A Lady Writing.
Portrait of Himself.
A Doctor feeling a Lady's
Pulse.
MIERIS, Fkans van, 'the younger,' the son of
■Willem van Mieris, was born at Leyden in 1689,
and was instructed by his father. He painted
portraits and conversation pieces, but was inferior
to his father in every respect, as becsime very
evident when he attempted to copy his works.
He died at Leyden in 1763. He has left an etching
of 'The Muse Erato,' and in the capacity of a
numismatist and historical writer he prepared and
furnished the medal-illustrations for a book on
the privileges of the Counts of Holland, &o., and
for some similar works.
MIERIS, Jan, the elder son of Erans Mieris the
elder, was born at Leyden in 1660, and received
his first instruction in art from his father. Despair-
ing of being able to equal him in the minuteness
and delicacy of his finishing, he devoted himself to
a different pursuit, and attempted historical paint-
ing and portraits as large as life. After the death
of his father he went to Italy, and on his arrival at
Rome applied himself to his studies with an assidu-
ity whicih proved fatal to him. He died in 1690.
MIERIS, Willem van, the younger son of Frans
Mieris the elder, was born at Leyden in 1662. He
studied under his father, whose style he adopted
so far as he could. At the age of nineteen, when
his father died, he was already an able artist. His
best pictures represent subjects taken from ordinary
life, such as confectioners' shops, women selling
game or vegetables, the interiors of apartments,
and conversations. In these, every minute object
is finished with painful care. The works of Gerard
de Laires-se had at that time excited universal
admiration ; and Mieris was encouraged by his
friend and patron, M. de la Court, to aim at a more
elevated style, and to paint landscapes with his-
torical or fabulous subjects. One of the best
attempts in the style thus forced upon him .is in
the collection of Sir R. Wallace. His pictures of
domestic subjects are to be found in the best
collections. In his last years he became blind.
He died at Leyden in 1747. The following list
includes most of his more important works :
Amsterdam. Museum. The Poulterer.
„ „ An Arcadian Landscape.
„ „ A Lady and Gentleman.
Antwerp. „ The Fishmonger.
Dresden. „ Musician and Girl.
The Game Dealer.
A Woman pouring out Wine for
a Man.
A Baker blowing a Trumpet.
Oephalus and Procris.
Venus asleep.
Bacchus and Ariadne.
Fortune-teller.
Man looking at a Girl who brings
him Drink.
Preciosa recognized by her
Mother.
Venus and Paris.
Apes in Human dress.
The Cook.
The Grocer's Wife.
The Poulterer's Shop.
Woman and Violinist.
An Oyster Feast.
A Classical subject.
Blowing Bubbles.
The Game Dealer.
The Cook.
A Spanish Soldier.
„ „ Female portrait.
„ „ An old Man offering money to a
Woman.
Few large collections are without examples of this
painter. Mieris etched one plate, which is very
rare ; the subject is ' The fate of .alsculapius.'
MIEROP, Feans van Ctttck van, a Flemish
painter, was born in Bruges in 1640. He settled
in Ghent where he painted many historical pictures,
introducing portraits of the leading merchants of
the town. He particularly distinguished himself
by his pictures of animals, and of fish, many of
which are scarcely inferior to those of Snyders.
MIERS, B. H., a Dutch landscape painter, who
settled in London, where he died in 1793.
MIETSCH, Cheistian Gottlieb, painter and
etcher, was born at Dresden in 1742. In 1756 be
entered the Academy at Dresden, and studied under
151
Hague. „
London. N'at. Gallery.
„ Bridgewater Gall.
„ Buckingham Pal.
„ Hertford House.
Paris. Louvre.
Vienna. Belvedere.
Higer
A BIOGRAPHICAL DICTIONARY OP
niguard
Silvestre and Hutin, and in 1763 became a teacher
himself. Among his etchings are :
The Pool of Bethesda.
Christ healing the Sick.
Luna and Antheus.
The Sleeping Endymion.
He died in 1800.
MIGBR, Simon Charles, a French engraver, was
born in Paris in 1747. He was a pupil of Charles
Nicolas Cochin, the younger, and has engraved
several plates of historical subjects and portraits.
He was a member of the old ' Aoad^mie Itoyale.'
He died in 1805. The following are some of bis
best plates :
POETEAITS.
David Hume, ; after Cochin.
John Stanley, Musician ; after the same.
Count Matirice de Bruhl ; after the same.
Christopher Gluck ; after Duplessis.
Laurent Cars, Engraver ; after Perenneau.
Jean Jacques Rousseau ; after Le Moyne.
Frans Miens ; after a picture hy himself.
SUBJECTS AFTER VAKIOtJS MASTERS.
Hercules stranghng Antseus ; after Voiriot ; engraved
for his reception into the Academy in 1777.
The Maying of Marsyas ; after C. van Loo ; pendent to
the last.
Hercules and Omphale ; after Dumont.
The Bape of Europa ; after Halle.
A View of the Coast near Civita Vecchia ; after Fernet.
MIGLIARA, Giovanni, Cavaliere, was born at
Alessandria in 1785, and studied decoration and
perspective under Albertolli and Levati, and the-
atrical painting under Galeari at the Brera at
Milan. He painted a considerable number of
scenes for the theatre, pictures of genre, and
views of Milan Cathedral. He was painter to the
Sardinian Court and member of several academies.
He died at Milan in 1837. Works :
Munich. Gallery. Cloisters of San Maurizio, Milan.
,, „ Cloisters of Sant' Ambrogio,
Milan.
Hamburg. Gallery. Church Interior.
MIGLIARA, Theodelinda, an Italian painter,
flourished at Milan at the beginning of the present
century. She painted city views, one of the best a
view of the Piazza del Duomo, at Como (Vienna).
MIGLIONICO, Andrea, according to Dominici,
was a native of Naples, and a pupil of Luca
Giordano. He painted historical subjects, and
there are several of his works in the churches of
his native city, the best, perhaps, a ' Descent of the
Holy Ghost,' in the SS. Nunziata. He died soon
after Luca Giordano (1706).
MI6LI0RI, Francesco, an historical painter,
bom at Venice in 1684. He died in 1734. In the
Dresden Gallery are the following pictures by him :
Joseph interpreting Dreams in Prison.
Bacchus and Ariadne.
Cain and Abel.
Europa.
Boman Piety.
Lot and his Daughters.
The Sacrifice of Abraham.
MIGNARD, Nicolas, called Mignard d' Avignon,
was born at Troyes, in Champagne, in 1605 or
1608. He received his first instruction in art from
an obscure painter of his native city ; but he soon
afterwards went to Fontainebleau, where he had the
advantage of studying the works of Primaticcio,
Fr^minet, II Rosso, and others, and the antique
statues which had been collected by Francis I.
152
He afterwards visited Italy, and passed two years
at Rome, where he studied Albani and Anni-
bale Carracci. On his return to France he passed
some time at Avignon, where he married, and from
his long residence in that city was called ' Mignard
d'Avignon,' to distinguish him from his brother
Pierre Mignard, called ' Le Remain.' By the
recommendation of Cardinal Mazarin, he was in
1660 invited to the court of Louis XIV., and
employed in several works for the palace of the
Tuileries, among which were ' Apollo crowning the
Muses of Poetry, Painting, and Music'; 'Apollo
and Daphne ' ; and ' Mercury presenting a Lyre to
Apollo.' He was also much employed as a portrait
painter ; some of his best works in that genre have
been admirably engraved by Antoine Masson.
His own portrait is in the Museum at Lyons.
Mignard was a member of the Paris Academy. He
died in that city in 1668. Mignard etched eight
plates after Annibale and Agostino Carracci's works
in the Farnesina.
MIGNARD, Paul, portrait painter and engraver,
was a son of Nicolas Mignard. He was born at
Avignon in 1639, became a member of the Lyons
Academy, and died there in 1691.
MIGNARD, Pierre, a French historical and
portrait painter, born at Troyes in 1610. Intended
by bis father for the medical profession, he showed
so strong a predilection for art, that at the age of
twelve he was placed for a year with a painter
named Boucher, who enjoyed a considerable local
reputation at Bourges. He then spent two years
in study amongst the treasures of art which had
been collected at Fontainebleau. Returning to
Troyes, he began the practice of his profession by
painting some decorative works for the Marechal
de Vitry in the chapel of his chateau at Coubert-
en-Brie. The promise he showed in the execution
of this commission was such that the Marechal
sent him to Paris to complete his art education in
the studio of Vouet, the nursery of French art in
the 17th century. That the master had a high
opinion of Mignard' s future is shown by the fact
that he offered him his daughter in marriage.
But the pupil's desires were centred on Italy, and
in 1635 he set out for Rome. Here he renewed
' acquaintance with his fellow-student Du Fresnoy,
and the two painters henceforth became inseparable,
living and studying together on terms of the closest
friendship. Twenty-two years of Mignard's life
were spent in Italy : chiefly in Rome, whence he
acquired the cognomen of 'Le Remain,' to
distinguish him from his elder brother, Nicolas
Mignard, d'Avignon. During this Italian sojourn
he diligently studied the antique, and gradually
obtained a great reputation. His practice as a
portrait painter was very large : three successive
popes, Urban VIII., Innocent X., and Alexander
VII., sat to him. In 1653 his friend Du Fresnoy
left him to return to France. Taking a circuitous
route, he was joined at Venice by Mignard, who
embraced the opportunity to make a lengthened
tour through some of the chief c'^ties of Italy.
After this excursion he again settled down in
Rome, and in 1656 married the daughter of an
architect. At this period he produced many
pictures of the Virgin and Child, in which he
reproduced the features of his wife, whence
such Madonnas were called "Mignardes." His
reputation had now spread so widely that in
1667 he received a royal command to return to
France. On his journey he was struck down by
Kignard
PAINTERS AND ENGRAVERS.
Hihes
a dangerous illness, which necessitated a sojourn
of some months with his brother at Avignon, where
he formed an intimacy with Molifere. Arrived in
Paris, he settled down again with his old friend
Du Eresnoy, and obtained a large practice as a
portrait painter. He was patronized by royalty,
and was especially regarded as the painter of the
court beauties. But he aimed at higher things than
portraiture, and undertook various decorative works.
The chief of these were the great frescoes repre-
senting Paradise in the dome of the Val-de-GrS,ce,
which he painted for Anne of Austria, and some
works at the palaces of St. Cloud and Versailles.
On the completion of the Val-de-Grfice commission,
he felt his status sufBciently assured to send to
Italy for his wife and children to rejoin him. For
many 3'ears a keen rivalry existed between him
and Le Brun. So great was the jealousy, that
Mignard declined to become a member of the
Academy, as he would have had to occupy an
inferior position to his rival. He joined the
Academic de St. Luc, of which he became the head,
and thence led the opposing faction. The death
of Colbert, and the accession of Louvois to power,
at length enabled Mignard to outstrip his rival ;
and after Le Brun's death he was received into
the Academy, all the honours of that body being
conferred on him at a single sitting. He had now
no competitor to fear, and during the remaining
years of his life his supremacy in French art was
unquestioned. The last great work on which he
was engaged was a design for the decoration of
the dome of the Invalides, but he did not hve to
carry it out. He continued painting till the year
of his death, which took place in Paris in 1696.
There are many specimens of Mignard's art in the
French provincial galleries. The following is a
list of his works in some of the chief public
collections of Europe : O.J.D.
Berlin, Gallery. Portrait of Marie Mancini.
Florence. Uffizi. Portrait of Mad. de Sevign^.
„ „ Comtesse de Grignon.
London. ^^<=T<^^J^ | Portrait of Louis XIV.
" f^tGaliZ:}^^"^^^^^' I^^ol'^^' of Orleans.
„ „ Louise de Qu^ronaille, Duchess of
Portsmouth. (1682. )
„ Hampton Court, Massacre of the Innocents.
„ Windsor Castle. Henrietta, Duchess of Orleans.
Madrid. Museum. St. John in the Desert.
„ „ Portrait of a French Prince.
Mayenoe. Gallery. Poetry, History, and Painting.
,, „ The God of Time.
Paris. Lmvre. The' Way to Calvary. (1684.)
„ „ Virgin with Grapes.
„ „ Ecce Homo.
„ „ ' Mater Dolorosa.'
„ „ St. Cecilia. (1691.)
„ Faith. (1692.)
„ „ Hope. (1692.)
„ „ Neptuneofferingrichesto France.
„ „ St. Luke painting the Virgin.
Bome. JPal. Conserv,
St. Petersburg. Jler-
Turin.
Versailles.
Vienna.
Portrait of Himself, &c.
Holy Family.
' [ Eeturn of Jephtha.
Magnanimity of Alexander the
Great. (1680.)
Death of Cleopatra.
Portrait of his Daughter.
Portrait of Louis XIV.
„ Portrait of the Dauphin.
Gallery. Portrait of his Daughter.
„ Seven other Portraits.
Belvedere. St. Anthony.
Vienna. Liechtenstein t „ , „
Ga^Z.jHoly Family.
„ Archduke Al- 1 j,_^ . .. ,,.,.-
irecht's Galle7-y.i^°'^^'^^''^ °^ Mohere.
)> „ Three Angels.
MIGNARD, PiEEBE, 'the younger,' was the son
of Nicolas. He treated historical subjects, and
was painter to Maria Theresa of Austria, knight of
the Order of Christ, and member of the Academy
of Architecture. He died at Avignon at the age of
thirty-five years.
MIGNERET, Adrian, an engraver, born in Paris
in 1786. He was a pupil of Langlois, and in 1817
received a gold medal for an engraving of VafHard a
dying Moliere. Among his engravings are also :
Portrait of Moliere ; after Mignard.
Peter the Great ; after Steuben.
Young Woman ; after Metzu.
Portrait of Cardinal Fleury.
MIGNON, Abraham, (or Minjon,) was born at
Frankfort in 1639. He was the son of a merchant,
who designed him for his own profession, but in
view of his inclination for art, placed him under the
tuition of Jacob Marel, a painter of still-life, with
whom be continued till he was seventeen years of
age. Marel carried on a considerable commerce
in works of art, and his business leading him to
Holland, he was accompanied by his pupil, whom
he recommended to the care of Jan Davidsz de
Heem, at Utrecht. Mignon soon became popular,
and with the greatest industry scarcely managed
to keep pace with the demand for his works. He
died at Wedzlar in 1697. He was the instructor
of Maria Sibylla Merian, whose mother, the widow
of Matthaiis Merian, he had married.
Frankfort. A dead Cock hung up by the Feet.
Paris. Louvre. A Bouquet of Wild Flowers.
„ „ Flowers and Fruit.
Vienna. Liechtenstein \ -p,, ■j.
Gall.r'^"-^-
Other works by him are to- be met with at
Amsterdam, Carlsruhe, Cassel, Dresden, Munich,
Paris, St. Petersburg, and Stockholm.
MIGNON, Jean, is mentioned by Strutt as the
author of a coarse etching, representing ' Abra-
ham purchasing the Cave of Machpelah from the
Children of Heth.' It is inscribed, lo Mignon fee.
He is said to have been working at Fontainebleau
in 1530.
MIGNON, Gaspard, a French painter of the 17th
century, of whose life no details are known.
MIGNOT, Daniel, probably a Frenchman, was
a designer, engraver, and goldsmith. He worked
at Augsburg about 1590, and has left 150 excellent
and very rare plates from goldsmith's work.
MIGNOT, Jennin, an obscure painter of Bruges,
who was active in that city in 1468.
MIGNOT, Louis Ebmy, was a creole. He was
born in 1831 in South Carolina, and passed most of
his life in New York and London. He painted
tropical landscapes, and in 1859 was elected a
member of the American Nat. Academy. He died
at Brighton in 1871.
MIGUEL EI. Flamengo. See Ambeees.
MIHES, Julie, painter and lithographer, was
born at Breslau in 1786, and studied at Vienna.
Here she was married in 1823 to the custos Pri-
misser, but was left a widow in 1827, and betook
herself to a nunnery. She died in 1855. She
was clever in reproducing the characteristics of
the old masters, as in copies of a ' Christ,' by
Bellini, and a ' Madonna,' after Annibale Carracci
153
Mij
A BIOGRAPHICAL DICTIONARY OF
nCiller
(both at Dresden). She lithographed ' The Ador-
ation of the Holy Trinity,' after Albrecht Diirer.
MIJ. See Van der Mij.
MIJIN, Henei Arnauld, (Myin,) was born at
Antwerp in 1760, and instructed by B. P. Omme-
ganck, whose manner he followed both in his land-
scapes and animals. He married Ommeganck's
sister, and died in 1826.
MIJN. See Van dee Mijn.
MIJRICINUS. See Mbrica.
MIJETILL. See Glauber, J. G.
MIJTBNS, Martin van. See Mbytens.
MIKCKER, Jan, a landscape painter, lived in
the early part of the 17th century, and is said to
have been one of the masters of J. B. Weenix. He
painted well-wooded landscapes ornamented with
buildings, in a low tone of colour.
MILANESE, Cesare. See Sesto.
MILANESE, Felice, who was probably a painter,
has left a small upright etching, representing the
' Virgin and Infant seated on a pedestal, with a
Bishop and several Children before her,'
MILANESE, IL. See Cittadini.
MILANI, AuRELiANO, the nephew of Giulio
Cesare Milani, was born at Bologna in 1675, and
was a scholar of Cesare Gennari, and afterwards of
Lorenzo Pasinelli. He did not, however, attach
himself to their manner, but devoted himself to an
attentive study of the style of the Carracci. His
principal works at Bologna are, his ' San Girolamo,'
in Santa Maria della Vita; 'The Stoning of
Stephen,' in Santa Maria Masoarella ; and ' The
Resurrection,' in La Purita. He died in 1749.
MILANI, GjuLio Cesare, was born at Bologna
in 1621, and was a disciple of Flaminio Torre, of
whose style he was a successful follower. Of his
works in the churches at Bologna the best are, a
' Marriage of the Virgin,' in San Giuseppe ; a ' S.
Antonio di Padova,' in the church of Santa Maria
del Costello ; and a ' Holy Family with St. John,'
at the Servi. He died in 1678.
MILANI, Giuseppe Maria, was bom at Pisa in
1678, and was a scholar of Camillo Gabrielli.
Following the example of his instructor, he imi-
tated the style of Pietro da Cortona and Ciro Ferri.
He afterwards applied himself with great assiduity
to the study of architecture, and excelled in mag-
nificent buildings, which he embellished with well-
drawn figures. Several of his frescoes are in
the churches at Pisa.
MILANO, Beamante da, is the name given to
an artist stated to have been born at Milan towards
the end of the 14th century. His very existence
has been denied by some, but those who have
accepted it assert that he was a painter and archi-
tect at the above town, and that he executed a
'Pietk,' in the church of Sant' Angelo there in
1418, and afterwards a ' Martyrdom of St. Sebas-
tian,' and two large frescoes in other Milanese
churches. His latest work was that of ' Christ in
the Tomb,' over the door of San Sepoloro, which
Philip II. had copied for the Escorial. His death
is said to have occurred about 1470.
MILANO, Giovanni da, properly Giov. Jacobi,
was a Milanese painter of the 14th century, born
in Milan about 1300. He learnt his art in Florence,
in the studio of Taddeo Gaddi, but died at Milan at
a good old age. Among his works we may name :
Florence. Uffizi. An altar-piece in ten compait-
ments {formerly in the church
of the Oynissanti).
154
Florence. Academy. PietA. (Formerly in S. Girolamo
sulla Costa.)
„ S. Croce. Scenes from the lives of the
Virgin and of the Saviour.
(.In the Rinuccini Chapel;
formerly ascribed to T. Gaddi.)
Prato. Com. Gallery. An altar-piece in five compart-
ments [signed ego Johannes
DB MeDIOLANO PINXI HOC
opus).
MILANO, MiCHBLiNO da, lived in the 16th
century. Count Giorgio Giulini in his ' Memorie '
states of him, that he was famous as a painter of
animals. He decorated the court and other parts
of the Casa Borromeo, Milan; but unfortunately
his frescoes have been nearly all whitewashed
over. The Casa Vendramin at Venice formerly
possessed a book with coloured sketches of animals
by Michelino.
MILATZ, F. A., a Dutch painter, bom at Haar-
lem in 1763. He painted landscapes and executed
some engravings. He was also a physician, and
died in 1808.
MILBOURN, John, an English portrait painter,
in the latter part of the 18th century. He was a
pupil of F. Cotes, and was awarded a premium by
the Society of Arts in 1764. Some of his works
were exhibited at the Academy in 1773-4. T.
Gaugain engraved after him.
MILDE, Karl Fribdrich August, a painter born
at Gorlitz in 1788. He worked at Dresden, made
copies of famous pictures, and painted portraits.
MILDE, Karl Julius, a German painter, was
bom at Hamburg in 1803. He painted ornamental
pieces, historical subjects, landscape, and sea pieces.
He lived at Lubeck, where he died in 1875.
MILDORFER, Michael Ignaz, was a painter of
Innsbruck, who flourished in the first part of the
18th century, and painted sacred subjects. His
son, Joseph Ignaz, studied at Vienna under Paul
Troger, and in 1742 gained a first prize for
painting. In 1751 he was painter to the Duchess
Emanuela of Savoy. His daughter, Maria Eliza-
beth, born in 1713, was a miniature painter of some
repute. She lived some time at Rome, but after-
wards returned to Innsbruck. She became blind,
and died in 1792.
MIL6. See Millet.
MILfi, N., a portrait painter, who flourished in
Brabant in the 17th century. He was a pupil of
K. E. Biset.
MILES, Edward, an English miniature painter,
bom at Yarmouth about the middle of the 18th
century. He practised in London, becoming minia-
ture painter to Queen Charlotte and the Duchess of
York, and exhibited at the Academy from 1786 to
1797. He died at Yarmouth early in the present
century.
MILLAN, Sebastian, a Spanish portrait and
genre painter, was born at Seville towards the
middle of the 17th century. He was a pupil of
Escobar. He died very old in 1731.
MILLS, Jan Baptist, was a Flemish painter of
the 18th century. He was a pupil of Van Helmont,
and was received into the Academy of St. Luke at
Brussels about 1718. He painted figures in the
landscapes of Coppens.
MILLER, Andrew, an engraver, is believed to
have been of Scotch descent, but was born in
London, and lived in Dublin from about 1740
till his death some ten years later. He studied
under Faber. He engraved the designs of Frank
Sliller
PAINTERS AND ENGRAVEES.
Millet
Hayman, and like him wa8 given to drink, through
•which his life was materially shortened. His
best known works were portraits in mezzotint,
which are by no means destitute of merit. Among
others, we have the following :
Dean Swift ; after F. Bindon. 1743.
Eobert Boyle, philosopher.
Charles Lueas, M.D., of Dublin.
Eobert Josleyn, Lord Newport, Chancellor of Irelstnd.
1747.
Josiah Hort, Arohbishcp of Tuam.
Eaten Stannard, Eecorder of Dublin.
Joseph Baudin, Painter.
Joseph Miller, Actor, in the character of ' Teague.'
John Harper, in the character of ' Jobson.'
Snowdon, in the character of ' Oaled,' in the ' Siege of
Damascus.'
Turbntt, in the character of ' Sosia,' in ' Amphytrion.'
MILLER, James, an English landscape painter
of the early water-colour school, who exhibited at
the Academy from 1773 to 1775. At the South
Kensington Museum there are by him :
Entrance to Greenwich Park.
View in St. James's Park.
MILLER, John, an English engraver, flourished
about the year 1760. We have a variety of prints
by him, chiefly portraits, among many others
the following :
King George III. ; ad vivum.
Queen Charlotte ; the same.
Jeffery, Lord Amherst.
George Bridges, Lord Rodney.
' Charles Townsend, Chancellor of the Exchequer.
Thomas Gray.
Charles Churchill.
Sir John Vanbrugh.
John Wilkes, M.P.
MILLER, John, an English flower painter and
engraver, born in London about 1750. He was
awarded a Society of Arts' premium in 1766.
Between 1770 and 1789 he illustrated and pub-
lished two books on the system of Linnteus, the
'Illustratio systematis sexualis Linnsei (1770-7),'
and the ' Illustratio terminorum Linnsei (1789).'
MILLER, John Sebastian. See Mulleb.
MILLER, William, engraver, was born at
Edinburgh, 28th May, 1796. His father, who
belonged to an old Scottish family, sent him to
London to study engraving under George Cooke.
After some years in London he returned to the
family home, Millerfield, near Edinburgh, and
settled down to the practice of his art. The great
bulk of his work is after Turner. Euskin speaks
of him as the best of Turner's engravers. In the
last half of his life he travelled a good deal, and
also practised painting in water-colour. He was an
honorary member of the Royal Scottish Academy,
and occasionally sent water-colour drawings to its
exhibition. Miller was a member of the ' Society
of Friends ; ' he wa_s twice married ; he lived at his
home of Millerfield for about eighty years, and
died there on the 20th of January, 1882. The
following list includes all his best work :
The Grand Canal, Venice ; I The Rhine at Felzen ; after
after Turner. I the same.
IN TITENER's ENGLAND AND WALES SERIES :
Carew Castle.
Chatham.
Dover.
Durham Cathedral,
IN EOGEES'S poems:
Llewellyn's Hall. I Loch Lomond.
The Eialto. I
Stamford.
Windsor Castle.
Varmouth.
IN THE PROSE WORKS OP SIR WALTER SCOTT;
Dumbarton Castle.
Brussels.
Houguemont.
Jerusalem.
Norham Castle.
New Abbey (near Dumfries) ,
Hotel de Ville, Paris.
Brienne.
PiAcenza.
Venice.
Veroua.
Vincennes.
Craigmillar Castle.
Dunstaffnage.
Linlithgow.
Glencoe>
St. Cloud.
Mayence.
The Simplon.
Pere la Chaise.
Malmaison.
Fontainebleau.
Field of Waterioo.
Chiefswood Cottage.
Rhymer's Glen.
Edinburgh, from St. An-
thony's Chapel.
Stirling.
Killiecrankie.
Inverness.
Fort Augustus.
IN THE POETICAL WORKS OF SIR WALTER SCOTT :
Dryburgh. Loch Achray.
Melrose. Skiddaw.
Loch Katrine. Berwick-on-Tweed.
Edinburgh.
RIVERS OF FRANCE :
Clairmont.
Chateau de Nantes.
Rouen.
Rouen (looking down the
PontNeuf. Seine).
Meudon (?)
CAMPBELL'S POEMS
Oran.
Tower of London ; after
Turner.
The Shepherd; after the
after H.
Loch an Eilan ;
MacuHoch.
Illustrations to Hood's
Poems ; after Birket
Foster.
MILLER, William, an English portrait and
historical painter, born about 1740. He was em-
ployed on the Shakespeare Gallery for Alderman
Boydell, whose portrait he painted. His works
were exhibited at the Academy from 1790 to 1803.
He died about 1810.
MILLET, Pranqois, (orMlLi,) sometimes known
as Feancisqtje. The family of this artist was
originally French, though he was born at Antwerp
in 1644. His father was a turner of ivory, born at
Dijon, and accompanied the Prince de Cond6, to
whom he was attached, into the Netherlands, at the
time of the revolt, and settled at Antwerp. Having
shown an early inclination for art, the young Millet
was placed as a pupil of Laurent Franck. His father
dying when he was still young, he had no other
resource than the exercise of his talents ; and when
he was eighteen years of age, he had acquired
sufficient reputation to induce his master to give
him his daughter in marriage. He soon afterwards
went to Paris, where he painted history and
heroic landscapes, vdth figures representing some
historical or fabulous subject. He is stated by M.
d'Argenville to have visited Holland and England,
in both of which countries he left proofs of his
ability. On his return to Paris he was received into
the Academy, and his works were held in high
estimation. Millet died in 1680. His sons Henri
and Jean FRANgois were also painters. The latter
died in 1723. Among Millet's works are :
Bordeaux. Gallery. Landscape Ruins.
Brussels. „ Best of the Holy Family during
„ the Flight to Egypt.
Dresden. „ Landscapes.
Munich. „ Landscapes.
„ „ Sea Views.
Petersburg. „ View of a Harbour.
We have a few etchings by this artist ;
them, the following :
among
156
Killet
A BIOGRAPHICAL DICTIONARY OP
Milon
A Landscape, with Egyptian Euins, with the subject of
Moses saved from the waters of the Nile: Francisque
inv.
Another Landscape, with the History of Cephalus and
Procris.
A Mountainous Landscape, with Bgures, and a town in
the middl6.
Les deux Amants.
Le Voyageur.
Ville antique.
MILLET, FRi:Di;Eic, a French miniature painter,
born at Charlieu (Loire) in 1786." His art instruc-
tion was due to F. Aubry, Pernot, and leabey. He
first exhibited at the Salon in 1806, and received
medals in 1817, 1824, and 1827. His practice was
very extensive : almost all the eminent personages
of the time were his sitters. He died in Paris in
1859. His son Ami was also an artist.
MILLET, Jean Franqois, a French painter of
landscape and peasant life, born at Gruchy, near
Cherbourg, in 1814. His parents were Norman
peasants, who industriously cultivated a small
farm. Amid these rustic surroundings he received
a simple yet sound education from his grand-
mother and his great-uncle, a priest without cure
of souls, who both lived under the family roof. A
taste for art early developed itself in him, and his
first systematic instruction was received from
Langlois at Cherbourg, where he was sent in 1834.
His progress was such that he was granted a small
pension by the Municipal Council to enable him to
pursue his studies in Paris. Thither he went in
1837, and entered the studio of Delaroche, where
Diaz, Rousseau, and Corot were among his
fellow-pupils. During the period of student life
he frequently suffered great privations through
the slenderness of his resources. His first appear-
ance at the Salon was in 1840, when he exhibited
a portrait. In the same year he returned to his
native country, and for some time earned a living
by painting sign-boards at Cherbourg. While
thus engaged he met his first wife, whom he
married in 1841. He went back to Paris in the
next year to renew his struggles, which were
increased by the ill-health of Ids wife, who died
after a short married life of three years. Return-
ing once more to Normandy, he entered the married
state again, and his second wife proved a devoted
companion. The newly-married couple spent
some time at Havre, where he earned a scanty
subsistence by painting portraits, small genre
pictures, &c. He sought Paris again in December
1845, and during the next few years his struggle
for existence was very arduous : he and his family
being frequently in need of the barest necessities
of life. This was an important period in the
development of his art. Still under the influence
of the Delaroche studio, he wavered for some time
between historical and landscape painting. The
appearance of his ' Winnower ' in 1848 and of ' The
Sower ' in the following year showed his true
vocation, and henceforth he adhered strictly to
subjects taken from peasant life. In 1849 he
removed from Paris to Barbizon, a village in the
beautiful Fontainebleau country with which his
name became inseparably connected. He settled
in a peasant's cottage of three rooms, which he
gradually enlarged to meet the requirements of his
growing family. Here, in the midst of the scenery
and peasant life so dear to him, he found no lack
of congenial subjects. His oircumstancesfor many
years still continued straitened. His pictures only
brought small prices, and were but httle appreci-
156
ated, save by a few. Although he was awarded
medals at the Salons of 1863 and 1864, it was not
until 1867 that his means began to improve. In
that year he was awarded a first class medal at the
Paris Universal Exhibition, and he also received the
unasked-for distinction of the Legion of Honour.
During the remainder of his career he felt less of
the carking cares of poverty, but he continued his
same simple rustic life at Barbizon, where he died
on the 20th January, 1876. Since his death his
works have fetched enormous prices, but his widow
and family were left comparatively poor, and were
granted a pension of 1200 francs by the State. The
following is a list of some of his works : O.J.D.
The Angelus. {M. Lecretan, Paris.)
The Sower. 1849.
Moses. {Chertoury Museum.)
Peasant grafting a Tree. 1855.
Woman pasturing a Cow. (Bourg Museum.)
A Park with Sheep : Moonlight.
The Gleaners. 1837.
The Potato-Harvest. 1863.
Death and the Woodcutter.
Woman shearing Sheep. 1861.
Planting Potatoes.
The Church at Greville. (Paris, Zuxemimirg.)
Women Bathing. (Paris, Luxembourg.)
The abandoned Plough.
Shepherdess and Flock. 1864.
Man with a Hoe. 1863.
Offering to Pan. (Montpellier Museum.)
Gathering Beans.
Woman pasturing Geese. 1867.
November. 1870.
A Mother. 1861. (Marseilles Museum.)
The Woodcutters. (G. lonides, Esq.)
MILLIN-DUPERREUX, Alexandre Louis
Robert, a French landscape painter, born in Paris
in 1764; He studied under Huetand Valenciennes,
and devoted himself to " historic ' ' landscape. Ex-
cursions to the south of France, Switzerland, Italy,
and Spain furnished subjects for his brush. The
Pyrenees had an especial attraction for him, and he
spent nearly seven years amidst their rugged
scenery. In some of his pictures the figures were
introduced by a Flemish painter named De Masne.
He died in 1843.
MILL1N6T0N, James Heath, a subject and
miniature painter, born at Cork early in the 19th
century. He entered in 1826 the schools of the
Academy, where in his later years he became
Curator of the Painting School. He exhibited up
to 1870, and died in 1873.
MILLINGTON. See Mannin.
MILLOT, E., a French portrait painter, pupil of
Largilliere, who died in 1756. He was a member
of the old academy of St. Luke, Paris.
MILLS, Alfred, an English wood engraver,
born in 1776. He was employed on the illustra-
tions for children's books, such as 'Pictures of
Grecian History' (1812). He died at Walworth
in 1833.
MILN, Robert, engraved some plates of Scottish
antiquities for a book published at Edinburgh
in 1710, entitled ' Miscellanea qusedam Eruditaa
Antiquitatis.'
MILOCCO, Antonio, an Italian painter of the
18th century. He was a native of Turin, and
painted historical subjects.
MILON, Alexis Pierre, a French painter of
landscapes and interiors, was born at Rouen in
1784. He was a pupil of David and Bertin.
Among his better works we may name a view of
the ' Belfry and Markets of Lillebonne,' and one
of the ' Val de GrSce, Paris.'
Milot
PAINTERS AND ENGRAVERS.
Dlinorello
MILOT, an engraver mentioned by Strutt, who
resided at Antwerp about 1620, and is said to have
worked for the booksellers only.
MILTON, John, an English landscape and
marine painter in the latter part of the 18th
century. _ He exhibited from 1769 to 1771 at the
Free Society of Artists. His known works are :
A Strong Gale.
The English Setter.
Six Dockyard Views.
MILTON, Thomas, an English landscape en-
graver, born about 1743. He had a good practice
in London, and subsequently in Dublin, and was a
governor of the Society' of Engravers. His grand-
father was brother to the poet Milton. He died
at Bristol in 1827, Specimens of his work are to
be found in :
' Views of Seats in Ireland.' 1783.
Mayer's ' Views in Egypt.' 1801.
MILTON, William, an engraver who practised
in London, and was chiefly employed by the
booksellers. He died in 1790 at Lambeth.
MILVIUS. See Kytb.
MILWITZ, Bartolomaus, a native of Dantzig,
who painted interiors, &c. The Katharinen Kirche
of Dantzic possesses an ' Entry of Christ into Jeru-
salem ' by him, signed B. M. W. It is Dutch in
style. Milwitz died in 1655.
MIMAULT, a French historical and portrait
painter, bom at Aix. He was a pupil of Aloysius
Finsonius. In the church of the Magdalen at Aix
is a picture of the ' Baptism of Christ,' signed by
him and dated 1625.
MlffANA, Fray Josef, of the Order of the
Trinity, was born at Valencia in 1671, and success-
fully cultivated both art and literature. He studied
painting at Naples, and executed for his convent,
at Murviedro, two pictures for the high altar com-
mended by Cean Bermudez. Besides several letters
and papers on Valencian antiquities, he wrote a
Latin continuation of Mariana's 'History of Spain.'
In 1704 he obtained the chair of rhetoric at Valencia
University, and died in the monastery of Our Lady
of Succour in 1730.
MINARDI, ToMMASO, painter and designer, was
born at Faenza in 1787. He was a member of the
Academy of St. Luke at Rome, and was the head
of the so-called Purists, who hoped to restore the
simplicity of the old masters. He made drawings
of the 'Last Judgment,' after Michelangelo, "and
of the ' Laocoon.' He also worked much at restora-
tion in the churches of his native town. He died
at Rome in 1871.
MINAYA. See Velazquez Minata.
MINAZZI, Jacques, a designer of the English
school, who died in 1865.
MIND, GoDFRiED, a Swiss painter, was born at
Berne in 1768. He was" a pupil of Preudenberger.
He painted chiefly in water-colours, and his sub-
jects were mostly oats, for which he had an extra-
ordinary affection. His body was diseased, his
character eccentric, and his conduct not that of a
good citizen, but his talent as an artist was con-
siderable. He died in 1814.
MINDERHOUT, Hendrik van, a painter and
etcher, was born at Rotterdam in 1632. At an
early period of his life he removed to Bruges,
where he married in 1664, and where he was re-
ceived into the Society of Painters in 1663, and
where there are several of his pictures in the
public edifices and in private collections. In 1672
he settled at Antwerp, where he entered the Guild,
and in 1696 he died. The works of this master
generally represent marines and seaports, fre-
quently those of Antwerp and Bruges. They are
usually of a large size, but very unequal in
execu,tion, and towards the latter part of his life
they seem to have been painted with negligence
and haste. His best works are, however, to be
found in the principal collections in Flanders,
The Museums of Antwerp and Christiania each
possess a ' Harbour of the Levant ' by him
MINDERHOUT, Willbm August van, son of
Hendrik van Minderhout, was born at Antwerp in
1680. As his father died when he Was sixteen,
he set out on his travels, and finally settled in
Moravia, where he died in 1752.
MINDERICK, Jan van, a painter of the Flemish
school, was born at Santen in the first quarter of
the sixteenth century. He was made a citizen of
Antwerp in 1553.
MINERDORPF, P. In the Lille Museum there is
a ' Death of Peter Martyr ' signed with this name
and dated 1629.
MINGA, Andrea del, an historical and portrait
painter, who lived at Florence. He was a pupil
of Eidolfo Ghirlandaio, and died after 1568. The
Pitti collection contains a ' Creation of Eve ' and
an ' Adam and Eve driven out of Paradise' by him,
both from designs by Baccio Bandinelli.
MINGACGINO. See Santi, Dom.
MINGOT, Tbodosio, was a native of Catalonia,
born in 1551, and was a disciple of Gaspar
Becerra. He is erroneously stated by Palomino
to have studied at Rome under Michelangelo, who
died when he was only thirteen years of age. He
is believed, however, to have visited Italy. He
was employed by Philip II. in the palace of the
Pardo, where his principal works perished in the
conflagration by which that edifice was destroyed.
He died in 1590.
MINGUET, Andreas, a still-life painter of the
Flemish school, was born in 1818. He was a
pupil of G. Wappers. He died in 1860.
MINGUET, Pablo, was a Spanish engraver who
furnished the title-page and other plates to Rod-
riguez's work on Polygraphy (Madrid, 1737).
MINI, Antonio, was an historical and portrait
painter of the 16th century, who resided at
Florence. He was a pupil of Michelangelo, but had
little talent. He went to France, where he died.
MINIATI, Babtolommeo, a native of Florence,
who flourished in the 16th century. He painted
portraits and historical subjects, and assisted Rosso
in his works at Fontainebleau.
MINIERA, BlAGlO, an historical painter, was
born at Ascoli in 1697. He was a pupil of Maratti,
and died in 1755.
MINNE, Jan Baptist, was born at Waoken
in West Flanders in 1734. He was a pupil of
Gerraerts, but finished his studies in Paris. Ho
painted historical subjects. In 1764 he received a
prize at the Antwerp Academy. He died in 1817,
MINNBBROER, Frans. See Crabbe.
MINNITL See Minuti.
MINO DA TURRITA, called Prate Ming, was
a famous painter of mosaics in 1225, and was
called Turrita from his birthplace, near Siena.
He worked in Florence, Rome, and Pisa, His
mosaic in S. Andrea, Florence, is inscribed :
Viginte quinque Christi cum mille ducentis.
MINORBLLO, Franoesco, an Italian historical
painter, was born at Este in 1624, He was a
pupil of Luoa Ferrari, and died in 1657,
^ 157
Hinozzi
A BIOGRAPHICAL DICTIONARY OF
IVHiruoli
MINOZZI, Bernardino, an Italian landscape
painter, was born at Bologna in 1699. He was a
pupil of Perrajuolo and Cavazzoni. He had a son,
Inkocenzio, a painter, who died in 1817. Bernar-
dino died in 1769.
MINTROP, Theodor, a German historical painter,
born at Barkenhofen, near Verden, on the Ruhr,
in 1814. Being drawn for the army he visited
Miinster and Cologne, where for the first time his
real bent was betrayed by the effect worked upon
him by the works of art in those cities. By the
help of E. Geselechap, he entered the Dusseldorf
Academy and studied under Sohn. The subjects
he treated were chiefly of a religious and monu-
mental class, but in Cologne he carried out several
decorative works in private houses. Unfortunately
his early life in the country had unfitted him for
the sedentary habits of a painter, and both his art
and his health suffered in consequence. He died in
1870. Among his better works we may name :
Diisseldorf . Gallery. Virgin and Child, and St. John .
Verden. Church. A Holy Conversation.
Christ and St. John with Angels.
The Murder of The Innocents.
The Sermon on The Mount.
MINUCCIO, a history and portrait painter,
called sometimes Ming, Ser Ming di Simgne, and
Maestro Ming. He executed a fresco in the Justice
Hall of Siena in 1287, representing the 'Virgin
and Child on a throne, surrounded by Angels,' with
a dais held up by the apostles. It is very good
work for its time.
MINUTI, Mario, an Italian historical painter,
born at Syracuse in 1577. He was a pupil of
Caravaggio, with whom he worked at Rome. He
lived chiefly at Messina, and died in 1640.
MINZOCCHI, Francesco, called II Vecohig di
San Bernardo, was born at Forli about 1513. He
formed his first manner by studying the works of
Marco Palmezzano, whose stiffness and formality
are visible in his first productions, particularly in
his picture of the ' Crucifixion,' at the Osservanti.
He afterwards took Girolamo Genga and Pordenone
for his models. Among his best works are the
' Sacrifice of Melchizedek ' and the ' Miracle of the
Manna,' in a chapel at Loretto ; a fresco in the
church of Santa Maria della Grata, at Forli, is too
vulgar in conception to be pleasing. Minzocchi
died in 1574. He left two sons, Pietro Paolg and
Sebastiang, who painted history, but were far in-
ferior to their father.
MIO, Giovanni de, called Fratina, was an his-
torical painter of Vicenza, who flourished in 1556.
MIOEN, B., a Dutch historical painter, born at
Cortemarok in East Flanders. He died in 1851.
His two best pictures are :
St. I'ran9ois Xavier. {Roulers.)
Sacred Heart. (Lichtermlde.)
MIOZZI, NiooGLG, an Italian historical painter,
who flourished in 1670. He was a pupil of
Carpioni, A Marc- Antonio Miozzi was working
at the same time as Niocolo.
MIRADORI, Luigi, was a native of Genoa,
whence he has been called II Genovesing, and
flourished from the year 1639 till 1647. After
learning the first principles of art in his native city,
he went to Cremona about the beginning of the
17th century, where he studied after the works of
Panfilo Nuvolone. He afterwards adopted a style
which bears some resemblance to that of the
Carracci. His works are highly esteemed through-
out Lombardy, particularly at Cremona, where he
i.0o
chiefly resided. He frequently made choice of,
and was the most successful in, the most terrific
subjects he could select. Among his most esteemed
works are :
Cremona. S. Clemente. St. John Damascenus.
Milan. Casa Borry. Punishment of Conspirators.
Piacenza. Mereh. Guild. Pieta.
MIRANDA, Carrbng. See Carreno de Miranda.
MIRANDA, Juan Garcia. See Garcia Miranda.
MIRANDA, Pbdrg Rodrigbuz and Francisco.
See RoDRieuEZ Miranda.
MIRANDOLESE, II. See Paltrgnieri.
MIRBEL, LiziNSKA AimjSb Zoe, was a French
miniature painter, born at Cherbourg in 1796,
whose maiden name was Rue. Louis XVIII. ap-
pointed her miniature painter to his court. She
died in 1849.
MIRE. See Lemire.
MIRETI (or MIEETTO), Girolamg, was a por-
trait and historical painter of Padua, who flourished
in the 15th century.
MIRETTO, Giovanni, is the reputed author of
some frescoes in the Sala della Ragione, at Padua,
representing the months and planets, treated
allegorically, the apostles, and other personages,
mythical and real — making in all nearly 400
pictures of wonderful incomprehensibility. They
are supposed to have been executed in the early
half of the 16th century. This Giovanni may have
been a brother or other relation of Girolamo, who
is called Moreto by Vasari.
MIREVELT. See Mierevelt.
MIRI, Ludovicg, a designer,painter,and engraver
of Rome in the 18th century, made drawings about
1778 of the wall paintings discovered in the Baths
of Titus, which he afterwards etched, besides
several ceiling pieces after Raphael in the Villa
Madama, and others in the Villa Hadriana, in
the Baths of Livia, and in the Famese Garden.
MIRICENYS. See Merioa.
MIEON, Antgn, (Mirgv, or Miruleus,) is a
Flemish painter, whose works are extremely rare.
Those in existence display much merit; they
are, for the most part, landscapes ornamented
with scenes from sacred history, and occasionally
with subjects of a sporting character, or in the
style of Jan Brueghel. Mention may be made of
a landscape with the conversion of St. Paul in the
Vienna Gallery, and a landscape with a duck-hunt-
ing scene, dated 1653, in the Berlin Gallery. Several
of his views in the neighbourhood of the Schwalbach
Spa have been engraved by M. Merian. The fol-
lowing among his works may also be mentioned :
Berlin. Museum. A scene in a Forest with Duck-
Hunters. 1653.
Copenhagen. Gallery, A Landscape.
Gotha. „ A Forest Landscape with Hunters.
1614.
Madrid. „ Hagar and Ishmael.
Petersburg, fleiwiaje. Hermits in the Forest.
„ „ Village on Fire.
Schleissheim. The Interior of a Wood with the
Temptation of Christ.
Vienna. Belvedere. A Landscape with the Conversion
of St. Paul.
MIROSLAW, is the author of some miniatures
in a manuscript entitled ' Mater verborum,' of the
date- 1102, in the Museum at Prague.
MIRUOLI, Girolamg, according to Vasari, was
a native of the Eomagna, and flourished about
the year 1570. He was a disciple of Pelleg.rino
Tibaldi, and was a reputable painter of history.
There are som« frescoes by him in the church of
Misciroli
PAINTERS AND ENGRAVEES.
Hodigliani
the Servi at Bologna. He also distinguished him-
self at Panna and Modena, where he was employed
by the Duke, and difid painter to the court.
MISCIROLI, ToMMASO, an historical painter, bom
at Faenza in 1636. He studied without a master,
and was called ' The peasant painter.' He died
in 1699.
MISEROTTI, DoMENico, is mentioned by Strutt
as the engraver of several plates for the collection
of prints from the paintings in the gallery of the
Grand Duke of Tuscany. He flourished about
1750, or rather later.
MITAN, James, an English engraver, born in
London in 1776. He received instruction from
Agar, from Cheeseman, and in the schools of the
Academy. He obtained an excellent practice, and
in his later years devoted himself to architecture.
He died in 1822. Specimens of his work will be
found in :
Inchbald's ' British Theatre.' 1808.
Smixke's * Don Quixote.'
Stothard's ' Irish Melodies.'
Dibdiu's ' Bibliographical Tour.' 1821.
MITAN, S., was brother and pupil of James
Mitan. He engraved for Batty's ' Views of
France,' and was employed by Messrs. Aokerman.
MITCHELL, John, a Scotch engraver, born in
1791, who practised in Edinburgh, and died in
1862. His best known plates are :
Alfred in the Neatherd's Cottage ; after Wilkie.
The Bat-catchers ; after the same.
MITCHELL, Thomas, an English marine painter
in the latter part of the 18th century, who held
appointments in the dockyards, and practised art
as an amateur. He exhibited at the Academy
from 1774 to 1789.
MITELLI, Agostino, (or Metelli,) was born at
Battidizzo, near Bologna, in 1609. He received his
first education at the school of the Carracci in
Bologna, and studied perspective and architecture
under Falcetta, and afterwards painting under
Miniati and Dentone. With this last artist he
visited Parma in 1627, and painted for the theatre
at Bologna. After the death of Dentone he at-
tached himself to Michelangelo Colonna, in con-
junction with whom he painted the decorations of
the archiepiscopal palace at Ravenna, sometimes
designing the figures, and sometimes the perspec-
tives ; but he afterwards devoted himself entirely
to the latter. His intimacy with Colonna lasted
twenty-four years, and was only terminated by his
death. Of the numerous works of the pair at
Bologna, the most admired are the Capella del
Rosario and the saloon in the Palazzo Caprara.
They equally distinguished themselves at Parma,
Modena, and Genoa. In 1674 they were invited
to the court of Spain by Philip IV., where they
ornamented the palaces with some of their finest
works, particularly a grand saloon, in which
Colonna introduced. the fable of Pandora. Mitelli
died at Madrid in 1660. We have twenty-four
spirited vignettes by this master, consisting chiefly
of architectural ornaments ; and a set of forty-
eight friezes, dated 1645.
MITELLI, Giuseppe Maria, (Metelli,) the son
of Agostino Mitelli, was born at Bologna in 1634.
After receiving some instruction from his father,
he entered the school of Flaminio Torre. He
painted historical subjects, and occasionally intro-
duced figures into the perspective views of Agos-
tino. There are several of his pictures in the
churches at Bologna, of which the most worthy of
notice are, ' St. Riniero healing the Sick,' in Santa
Maria della Vita; a 'Pietk' in the Annunziata ;
and ' Christ taken in th« Garden ' at the Cappuccini.
He was more distinguished as an engraver than as a
painter, and has etched a great variety of plates
from his own designs and after some of the most
celebrated of the Italian masters. He died in 1718.
Bartsch describes 162 pieces by him, and Nagler
has increased the number.
The following are his principal works :
A set of twelve plates, after the most esteemed pictures
iu the churches at Bologna.
The history of ^neas, in twenty plates; after the
pictures by the Carracci, in the Palazzo Favi, at
Bologna.
The Cries of Bologna, in forty-one prints ; after Ann.
Carracci.
The Adoration of the Shepherds, called the Notte ; after
Correffgio.
The Martyrdom of St. Erasmus ; after Pmssin.
David and Goliath ; after Titian.
The finding of the Cross ; after Tintoretto.
The Rich Man and Lazarus ; after Paolo Veronese.
The twenty-four Hours of Human Felicity. There are
two additional prints, making a set of twenty-six,
probably from his own designs. They were published
at Bologna in 1675, and are now become scarce,
MOALLB, LoYS, a French historical painter
and native of Peronne, who flourished about 1475.
In 1610 he was working at Valenciennes.
MOCETTO, GiROLAMO, (Mozetto,) was living
between the 15th and 16th centuries, and was both
a painter and a famous engraver. He was a
pupil and journeyman of Giovanni Bellini, and
painted the ' Virgin and Child between SS. Biagio
and Giuliana,'in the chapel of San Biagio, Verona ;^
a ' Madonna and Child ' in the Gallery of Vicenza ;
and a ' Portrait of a Man ' in the Gallery of Modena.
His engravings date from 1490 to 1514. As to
the dates of his birth or death there is no
certainty. His principal engravings are :
Battle of the Israelites and Amalekites.
Judith.
St. John the Baptist in the Desert.
Baptism of Christ.
Resurrection of Christ.
The Virgin on the Throne.
The Virgin in Glory.
Bacclius.
Triumph of Neptune.
Calumny of Apelles.
MOCHETTI, Alessandro, an engraver, was
born at Rome about 1760. He studied under
Volpone, and executed several excellent plates.
He died about 1812.
MOCK, JoHANN Samuel, court painter to King
August of Saxony and Poland. He died about
1738.
MOCK, J. J., a topographical draughtsman, was
. born at Herisau in 1776. He drew several Swiss
views. He died in 1824.
MODALULPHE, a painter who flourished in
France in the 9th century.
MODENA, Ant. da. See Begarelli.
MODENA, Barnaba da. See Serafini.
MODENA, Martino da, a miniature painter of'
the latter half of the 15th century, was the son of
Giorgio, and grandson of Alberto, of Germany.
MODENA, Nio. da. See Rosex.
MODENA, Pellegrino da. See Aretusi.
MODENA, Tom. da. See Eabisino.
MODESTUS, a monk who worked as a mini-
aturist at St. Gall, in the ninth century.
MODIGLIANI, Francesco, was a native of
Forli, and flourished about the year 1600. He is
169
Hodoniuo
A BIOGRAPHICAL DICTIONARY OF
Mogford
said to have been a pupil of Pontormo. Lanzi
notices some of his works at Urbino, where he is
called ' Francesco da Forli,' representing a ' Deposi-
tion from the Cross,' and some frescoes in the
church of Santa Lucia. But his best productions
are at the Osservanti at Forli, and in the church
of Santa Maria del Rosario ; they are subjects from
the Old Testament, among which are ' Adam and
Eve driven from Paradise,' the ' Deluge,' the
'Tower of Babel,' and others.
MODONINO, Giovanni Battista, painter, was a
native of Modena. He painted architecture with
some success at Rome, and died at Naples of the
plague in 1656.
. MOECHSELKIRCHEL, Gabriel, a German
historical painter, who flourished at Munich in
1470. At Schleissheim there are two pictures of
' Christ bearing Hie Cross,' and ' The Crucifixion.'
MOEGLICH, Ani reas Leonhard, engraver, was
bom at Nuremberg in 1742. He studied first alone,
but afterwards entered the school of Preissler.
His first worlcs were vignettes and small portraits,
which were succeeded by a few plates on a larger
scale. He died about 1810.
MOELART, Jakob, was born at Dordrecht in
1649, and was for some time a scholar of Nicolas
Maas. His progress under that master was con-
siderable, and he proved a leputahle painter both
of history and portraits. Of his historical works,
Houbraken particularly commends his pictures of
' Moses striking the Rock ' and the ' Destruction of
Pharaoh and his Host.' He died in 1727.
MOENCH, Charles Victoire Frederic, a French
historical and decorative painter, born in Paris in
1784. He was a pupil of Girodet. He exhibited
at the Salon in 1810, and obtained a medal in
1817. Several years were spent at Rome, and
on his return he was much patronized by the
Orleans family. The restoration of the paintings
in the chapel at Versailles was entrusted to him,
and he executed some decorative works in the
Diana Gallery at Fontainebleau. He died in 1867.
Among his works are :
Diana and Actseon.
The Holy Family.
The Birth of Venus.
Susanna at the Bath.
The wife of King Candaules, &c.
MOENS, Arnold, a painter and sculptor, who
flourished at Brussels in 1447. He was attached
to the Brotherhood of St. Eloi in that year.
MOENS, E. H., a Dutch painter, was born at
Middlebourg in the 17th century. He accom-
panied Abraham Genoels to Rome, and in 1674
was admitted into the Society of Foreign Painters
in that city.
MOERE. See Van der Moerb.
MOEBENHOUT, Josef Josse, a Flemish land-
scape painter, was born at Eeckeren near Antwerp
in 1801. He was a pupil of Horace Vernet, and
painted chiefly horses and winter scenes. Speci-
•mens of his works are to be found at Haarlem and
Munich. He died in 1876.
MOERMAN, Albert, a Flemish landscape
painter, born in 1808. He was a pupil of P. F.
de Noter. He died in 1857.
MOERMANS, Jakob, was a Flemish painter,
born in 1602. In 1621-2 he was a pupil of Rubens
at Antwerp, and in the same year free of the
Guild. He was one of the three artists named by
Rubens in his will to superintend the sale of his
160
pictures. He was accidentally drowned in the
canal at Antwerp in 1653.
MOEUSE, Jan de, a Flemish historical painter,
who flourished at Liege in the 16th century.
MOEYAERT. See Moijart.
MOFFEI, 0. F., is mentioned by Strutt as the
author of a coarse etching representing the ' Death
of St. Francis.'
MOGALLI, Cosmo, an Italian designer and en-
graver, was born at Florence in 1667. He was
instructed in design by Giovanni Battista Foggini,
a Florentine sculptor, and applied himself chiefly
to engraving. He died in 1730. He executed
part of the plates for a book of Etruscan antiqui-
ties, published at Florence in 1724, by Thomas
Dempster ; and was employed, in Conjunction with
Antonio Lorenzini and others, to engrave the
plates for the ' Museo Fiorentino.' We have also
some prints by him, after Saiiti di Tito, F. Perucci,
and others. He signed his works C. M. sculp, or
C. M. S. The following are from pictures in the
Florentine Gallery.
The Holy Family reposing; aft^ Allani; circular.
Apollo and Marsyas ; after Guercino.
The Magdalen carried up to Heaven by an Angel ; after
Guido Caynacci.
The Holy Family ; after Correggio.
Eve presenting the Apple to Adam ; after Carlo Cagliari.
Adam and Eve driven from Paradise ; after the same.
Christ and the Disciples at Emmaus ; (^ter Talma.
The Marriage of St. Catherine ; after Fra Sartolomineo,
David and Bathsheba ; after Salviati.
The Annunciation ; after Andrea del 8arto.
The Adoration of the Shepherds ; after Titian.
A Bacchanalian Dance ; (^er the same.
Philip II., King of Spain ; after the same.
MOGALLI, Niccol6, the son of Cosmo Mogalli,
was born at Florence in 1723. After learning the
principles of design under Francesco Conti,he was
instructed in engraving by J. D. Picohiante.
About the year 1760 he went to Rome, where he
resided several years, and was employed by the
celebrated Winkelmann to engrave, from the
designs of Casanova, the plates for his work
entitled, 'Monumenti antichi, inediti, spiegati ed
illustrati da Giovanni Winkelmann. Roma, 1767.'
He with his sister Theresa Mogalli engraved
some plates for the ' Museo Fiorentino,' and for the
' Cabinetto di Portici.'
MOGFORD, John, was descended from an old
Devonshire family, and born in London, 15th
October, 1821. His father Thomas Mogford was a
painter, in water-colours, of picturesque architec-
ture, and an P.S.A. At the age of eleven years
he was placed at a school in France. On his return
to England he entered the School of Design, at
Somerset House, where he studied for two years
under Mr. Dyce, becoming eventually a member of
the Royal Academy School, where, being very per-
severing and enthusiastic, he obtained several prizes.
At this time, his means being small, he found it
difficult to follow his artistic studies, and was
obliged, in order to earn a living, to set himself to
the restoration of old pictures for three days in
each week. Thus, having gained the confidence
and friendship of Mr. Buchanan and other con-
noisseurs, he frequently had the works of the great
masters on his easel. At the age of twenty-one he
married the daughter of Francis Danby, A.B.A.,
landscape painter. In 1846 he exhibited his first
picture in oils at the Royal Academy, and from
then to the year 1865 he had always one or more
pictures in the exhibition. In 1866 he was elected
Mog^ord
PAINTERS AND ENGRAVERS.
a member of the Institute of Painters in Water-
Colours. In 1879 he was awarded a first prize at
the Sydney International Exhibition, and many of
his pictures are in the National Galleries of New
South Wales and Victoria. Mogford died in 1886.
MOGFORD, Thomas, was a native of Devonshire,
and followed his profession at Exeter. From 1838
to 1854 he was an exhibitor of portraits and sub-
jects pictures at the Royal Academy. After the
latter date he fell into bad health, and died at
Guernsey in 1868.
MOHEDANO, Antonio, a Spanish historical
painter in fresco, and considered one of the best
painters of Andalusia, was born at Antequerra in
1661. He studied under the celebrated Pablo do
Cespedes, but preferring fresco to painting in oil, he
devoted himself to that, and became the most
eminent artist of his time. He painted fruit and
ornaments with equal skill, and successfully
imitated the grotesques in the Loggie of the
Vatican by Giovanni da Udine. He left many
proofs of his merit as a painter, particularly in four
pictures for the convent of San Francisco de Sevilla,
and in the frescoes painted at the same place in
conjunction with Alonso Vazquez. In the latter
part of his life he returned to Lucena, where he
finished the pictures for the great altar of the
cathedral of that city, and died there in 1625.
Mohedano had also a talent for poetry, of which
specimens may be seen in ' Flores de poetas ilustres
de Espana,' published by his friend Pedro Espinosa
in 1605.
MOHR, J., a German landscape and marine
painter, was born at Munich in 1808, and died in
1844. There is by him in the Copenhagen Gallery
a 'View of the Sea near Kiel.'
MOIJART (or MOEYAERT), Nicolaes Cok-
NELisz, a Dutch painter, was born at Amsterdam (?)
shortly before 1600. He was enrolled in the guild
in that city in 1624. He may be looked upon as
one of those who prepared the way for Rembrandt,
for he painted with a full brush and with much
vigour of light and shade. His subjects are por-
traits, landscapes, animals and genre. Among his
direct pupils must be reckoned Berchem, J. van der
Does, and Solomon Koninck. Moijart visited Italy,
where he came for a time under the influence of
Blzheimer. His death is thought to have taken
place in 1669. Among his pictures we may name :
The Choice of a Lover.
A Portrait Group of ' Kegents.'
The Calling of Matthew.
Biblical Scene.
Triumph of Silenus.
Mercury aud Herse.
St. John the Baptist Preaching.
(Signed: CI. Mooyaert fc.
1631.)
„ „ Flight of the Angel from To-
bit's Family ('r').
MOILLON, Isaac, a French historical painter,
born in Paris in 1615. He was a son of Nicolas
MoiLLON, a landscape painter. He was admitted
into the Academy in 1663, and died in 1673.
MOINE. See Lkmoinb.
MOIRON, Van dee. See Van der Moieon,
MOISY, Alexander, an engraver, born in Paris
in 1763. He engraved architectural pieces and
ornaments. He died about 1832.
MOITTE, Feanqois Auguste, the son and pupil
of Pierre Etienne Moitte, was born in Paris about
the year 1748. We have by him several plates
VOL. II. M
Amsterdam. Museum.
Brunswick. „
The Hague.
Stockholm.
Itlola
after Greuze and other masters ; among them the
following :
A pair, Poetry and Painting ; after Greuze.
A Flemish Repast ; after Jordaens.
MOITTE, PiEEEE Etienne, a French engraver,
was born in Paris in 1722. He was a pupil of
Beauvarlet, and engraved several portraits and
various other subjects in a clear, neat style. His
most important works were the plates he executed
after pictures in the Dresden Gallery, and in the
cabinet of Count Bruhl. For his portrait of Restout
he was in 1771 admitted to the Paris Academy, and
afterwards appointed engraver to the king. He
died in Paris in 1780. His daughter Rose Angelique
also engraved. The following prints by him may
be named :
portraits.
J. Eestoufc, Painter to the King ; after De Latour.
Charles Jean Fran9ois H&ault, Hidtorian; after St.
Aubin.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family; after Andrea del Sarto ; (Dresden
Collection).
Another Holy Family ; after F. Vanni ; the same.
The Marriage of St. Catharine ; after Correytfio.
Christ praying on the Mount of Olives ; after the same.
A Halt of Travellers ; after Wouwerman.
The Watering-place ; after the same.
The Dutch Cook ; after Gerard Dou.
The Fish-woman ; after the same.
.^neas saving his Family from the Burning of Troy ;
after M. Corneille.
The Triumph of Venus ; after Boucher.
The Pleasures of Summer ; after the same.
Several Prints after Greuze, Cochin, and other masters.
MOJETTA, ViNCENZio, an Italian historical
painter, born at Caravaggio. He flourished at
Milan about 1600, and is mentioned in P. Morigia's
book on the Milanese nobility.
MOL, Arnold de, was a Flemish painter, who
flourished at Bruges in the 16th century. He was
entered in the Guild register in 1450.
MOL, Gilles de, a Flemish painter, who worked
for the Dukes of Burgundy in 1386-7.
MOL, Jan Baptist van, is known only as a
contemporary and imitator of Rembrandt. He is
believed to have engraved some plates.
MOL, Pieter van, a portrait and historical
painter, born at Antwerp in 1699. He was a pupil
of Siger van den Grave, and received lessons from
A. Wolfaerts. In 1622 he was received into the
Corporation of St. Luke in Antwerp. In 1631 he
was in Paris, where he was appointed painter to
the Queen, Anne of Austria. In 1640 he married,
in Paris, Anna van der Burch, the daughter of a
Flemish engraver, and by her had eight children in
eight years. In 1648 he was one of the founders
of the Royal Academy of Painting and Sculpture
of France. He died in 1660. There is a portrait
by Mol in the La Caze collection in the Louvre.
At Lille there is a ' Descent from the Cross.'
MOL, Wouterus, a Dutch genre and historical
painter, was born at Haarlem in 1786. He was a
pupil of H. van Brussel and of David. He died
in 1868. Of his chief works are :
Amsterdam. Bcce Homo.
Antwerp. Adoration of the Magi.
Berlin. Isaac blessing Jacob.
Copenhagen. Head of St. John the Baptist.
Paris. A dead Christ.
MOLA, Giovanni Battista di Francia, (Mollo,
or Molly,) painter and etcher, was born at
161
Mola
A BIOGRAPHICAL DICTIONARY OF
Moles
Besanfon in 1616. He. studied in Paris under
Vouet, and executed with Pietro Francesco Mola a
copy for Cardinal Bichi of a painting by Paolo
Veronese at Venice. After this he went to Rome,
where he became a disciple of Albani in 1650. He
composed in the style of that master, but his
colouring is more vigorous and bolder. He died
at Rome in 1661. Of his paintings these were
The Portrait of Albani ; ly St. Ficart.
A Landscape with the history of Hagar and Ishmael ;
hy J. Prou.
He himself etched among others :
Judith with the Head of Holofernes.
Susannah in the Bath ; after Ann. Garracci.
Atalanta.
MOLA, PiBTEO Feanoesco, was born at Coldre,
in the Milanese, in 1612. He was the son of an
architect, who placed him under the tuition of
Prospero Orsi and Giuseppe Cesari d'Arpino, at
Rome ; but on his father going to Bologna on
business, he accompanied him, and became a
disciple of Francesco Albani. He afterwards went
to Venice, where be studied the best productions
of the great masters of the Venetian school. He
returned to Rome in the pontificate of Innocent X.,
by whom he was employed in several considerable
works, particularly a chapel in the church Del
Gesu, where he painted in fresco ' St. Peter
delivered from Prison,' and the ' Conversion of St.
Paul,' which gained him great reputation. He was
not less patronized by Alexander VII., for whom
be painted a ' Joseph making himself known to his
Brethren,' in the pontifical palace of Monte Cavallo.
Afterwards be became President of the Academy
of St. Luke, and worked for Queen Christina.
Two of his best pictures are a ' St. John in the
Wilderness,' and a ' St. Paul the Hermit,' in Santa
Maria della Vita, at Milan. Mola died at Rome in
1668. Paintings by him are at Copenhagen, Dublin
(National Gallery), London (the National Gallery),
Munich, St. Petersburg, and Venice ; also the
following :
Dresden. Museum. Hero and Leander.
„ „ Dido.
„ „ Ceyx and Alcyone.
Florence. t^ffi'i- His own Portrait.
London. Burlington > Landscape, with the Temptation
House {Dip. Gal.) J of Christ {ajlne example).
Naples. Museum. St. Romualdus.
Paris. Louvre. Hagar in the Desert.
„ „ Preaching of John the Baptist.
,, „ Vision of St. Bruno.
Rome. Capitol. Hagar and Ishmael.
„ Pal. Borghese, Delivery of St. Peter.
„ „ Corsini. The Magdalene.
We have a few engravings by P. F. Mola, executed
in a spirited style ; the following are among them :
The Virgin suckling the Infant Jesus ; after his own
design.
The Holy Family, with Angels. This plate was first
etched by Mola, and was afterwards finished with the
graver by a clumsy, unskilful hand.
Joseph discovering himself to his Brethren. This print
has been sometimes attributed to Carlo Maratti.
The Holy Family, with Angels presenting Flowers to
the Infant Jesus ; after Aliani.
The Satyr's Family.
MOLANUS, M. : in the Dresden Gallery there is
a landscape with a village and a group of trees,
signed M. Molanus 1635, and in the collection of
Mr. V. E. L. de Stuers (Hague), there are two land-
scapes with the same signature.
Mold, Johann van, painter, was born in
Flanders, and went to Seville, where be became a
162
pupil of a local painter. He painted landscapes
in a weakly florid style He died about 1706.
MOLENAER, Molinaee, &c. ; the surname of
a large family of artists of the Netherlandish
school : —
MOLENAER, Baetholomaus, entered the Guild
in 1640.
MOLENAER, Coenelis, called ' Soheele Neel'
(that is, ' the squinter '), was born at Antwerp
about 1540, and instructed by his father and step-
father. His paintings were executed very rapidly,
and without the maul-stick. He died at Amster-
dam after 1691. There are by him :
Berlin. Museum. A Forest Scene.
Brunswick. Three Landscapes, one of them
dated 1591.
Christiania. A Winter Landscape.
Madrid. Three Sea-pieces.
MOLENAER, Jan, was a native of Haarlem,
and painted village scenes, drunken quarrels, &c.
He married in 1636, at Heemstede, JnDiTH
Leystee, herself a painter, who died in 1660. In
1647 be was living at Amsterdam, but his death
occurred at Haarlem, in 1685.
MOLENAER, Jan Jaoobsz, was born at Haar-
lem in 1654. There is a picture signed by liim in
the Copenhagen Museum. The subject is a Dutch
interior with a merry-making.
MOLENAER, Jan Miensb, born at Haarlem,
early in the 17th century. He painted country
scenes in the style of Steen and Brauwer. He was
the best of the Molenaers. His colour was warm
and clear ; his touch spirited, and his humour full
but seldom coarse. He died at Haarlem in 1668.
The following is a list of some of his more ac-
cessible pictures :
Alton Towers. Museum. A Tailor's Workshop.
Amsterdam. „ Peasant Musicians.
„ „ The Village School.
Berlin. „ The Interior of an Inn.
Brunswick. „ A Dentist. 1630
Copenhagen. „ The Jealous Wife.
Dublin. Nat. Gall. Peasants teaching a Cat and Dog
to dance.
Petersburg. Herm. A Peasant's Family.
Pommersfelden; Mus. A Scene with Feasants.
Rotterdam. „ Village Concert.
„ „ Clarionet Player.
„ „ Village School.
He etched ' A Festival,' the ' Violimst ' (both very
rare), and a ' Pastry-cook with Children.'
MOLENAER, Klaes, was born at Haarlem in the
17tb century, entered the Guild there in 1651, and
painted landscapes in the manner of Izaak van
Ostade and Dekker. He died at Haarlem in 1676.
There are by hira :
Petersburg. if*r,«t*- ) ^^^^^^
age.y
Rotterdam. Museum. The same subject.
„ „ A Bleaching-place.
MOLENBEKE, Jan van, a Flemish artist, and
native of Louvain, who in 1433 was entrusted by the
Abbess of Val Due with the execution of an altar-
piece for the convent church. He was still living
in Louvain in 1438.
MOLES, Pascal Petee, painter and engraver,
was born at Madrid in 1740. He studied painting
in his native city, and then went to Paris, where
he studied engraving under Dupuis. He died at
Madrid in 1776. Among his works are :
The Virgin and Child ; after Van Dyck.
John the Baptist ; after Guido.
St. Gregory; after Vanloo.
Moligny
PAINTERS AND ENGRAVERS.
Molyn
MOLIGNY, C. D., a French engraver, resided in
Paris about the year 1760. He engraved several
portraits, principally after Cochin, among them
that of Jean Brute, Cur6 de St. Benoit.
MOLINA, Manurl de, was a Spanish painter,
born at Jaen in 1614. He studied at Rome, and
after returning to Spain entered the Capuchin
convent at Jaen. He painted in the style of
Sebastian Martinez, but with less talent. His por-
traits were much esteemed. He died in 1677.
MOLINARI. See Mulinabi.
MOLINARI, Antonio, an Italian historical
painter, was born at Venice in 1665. He studied
under his father, Giovanni Battista Molinari, and
afterwards went to the school of Zauchi. He
painted a picture now in the Dresden Gallery of
'Psj-che watching Bros asleep.' He was still
working in 1727.
MOLINARI, Giovanni, an Italian portrait and
historical painter, born at Savigliano in 1721. He
was a pupil of CI. Beaumont, and died in 1793.
There are pictures by him at Turin, at Vercelli,
and in many private collections in North Italy.
MOLINARI, Giovanni Battista, an Italian
historical painter, flourished in the middle of the
17th century. He was a pupil of Vec'chia. At
Dresden there is a ' Drunkenness of Noah ' by him,
and at Brunswick a ' Finding of Moses.'
MOLINEDO, a Danish painter, born at Copen-
hagen. He lived some time in Russia, but in 1780
returned to Copenhagen. He afterwards went to
Spain, where he is said to have died.
MOLITOR, JoHANN Peter, was born at Wester-
burg near Coblenz in 1702. He first studied at
Bonn, and afterwards went to Berlin and Dresden,
and in 1734 settled at Prague. He painted first
landscapes and peasant scenes, and afterwards
fruits and flowers. In 1756 he went to Vienna,
where he died in 1757.
MOLITOR, Maetin von, a landscape painter,
designer, and engraver, who was born at Vienna,
in 1759, and died in the same city in 1812, was a
pupil of Christian Brand. His landscapes, both in
oil and in water-colours, were much admired and
sought for by amateurs and connoisseurs. He was
a Knight of the Order of Leopold, custos of the
royal court library, and a meniber of the Academy
of Vienna. Some of his designs, representing
cattle and sheep, have been engraved by Gabet,
Duttenhofer, and Bartsoh ; these are distinguished
by their initials, in addition to M. M. with which
he marked his etcliings ; as for example, M. M.
inv. A. Btchf. — M. M. d. G. S., the last signifying
Martin von Molitor delineavit, (Francois) Gabet,
sculpsit- ' Of his paintings there are :
Loudon. ;S Kensington. Landscape.
Prague. Soc. Frd^^.of^^^^^^^'^^^^
„ „ Cattle Kece.
„ „ Cottage in the Plain.
Vienua. Academy. Bridge in the Rossau country.
Of his etchings the most noteworthy are:
Farm-yard.
The young Sailor.
Forest Landscape with Cattle.
MOLLER, Andreas, portrait and historical
painter, was born at Copenhagen in 1683. In the
Gallery there is a portrait of Marshal Saxe by
this artist, as well as a copy of Robert Walker's
portrait of Oliver Cromwell. Moller was living
in Vienna in 1724, and died in Berlin in 1758.
MOLLER, Anton, a Germfin landscape painter,
was born at Konigsberg in 1560. He visited Itf ly,
and afterwards settled at Dantzic, where he died in
1620. His best picture is in the town-hall of
Dantzic,
MOLLER, Jens Peter, a Danish landscape
painter, was born at Faaborg in the island of
Funen in 1783. He studied at the Academy at
Copenhagen in 1809, and was afterwards sent to
Paris by the king, to study restoring. While there,
however, he also painted from the works of
Claude Lorrain. After his return, in 1815, he
became, in 1826, a professor and member of the
Academy and Conservator of the Royal Gallery,
and in 1834 superintendent of the gallery of Count
Moltke at Copenhagen. Subsequently he travelled
in Germany, Switzerland, the Tyrol, and Norway.
He died at Copenhagen in 1854. The following
are his best pictures :
Copenhagen. Gallery. The Wetterhom and Rosenlaui.
„ „ A Forest Eoad near Blsinore.
" '''SfrlT'^^StraitsofSvendborg.
MOLLINERI. See Mulinari.
MOLLINGER, Gerard Alexander, a landscape
painter, was born in Holland in 1833. He exhibited
at the international Exhibition of 1862, in London,
a ' Heath Scene ' and a ' Landscape after a shower
of Rain ; ' later on he occasionally contributed to
the exhibitions of the Royal Scottish Academy.
He died in 1867.
MOLLINGER, Louis, a*Dutch historical, portrait,
and genre -painter, was born at Utrecht in 1825.
He was a pupil of G. Stoof at Utrecht, and of Ary
Scheifer at Paris. He died in 1860.
MOLLO, (or Molly). See Mola.
MOLTENI, Giuseppe, an Italian historical and
portrait painter, born in 1800 at Alferi near Milan.
He was a pupil of the Milan Academy, where he
exhibited, as well as at Venice and Vienna. He
gained a gold medal at Milan in 1836, and was
decorated with several foreign orders. In his later
years he held the post of curator of the Brera
Gallery. He died in 1867. Molteni's reputation
now I'ests more upon his labours as a restorer than
upon his original pictures. In that more humble
line of art he did much good work, and no doubt
some mischief. The famous ' Pisanello ' in the
National Gallery was restored by him under Sir C..
Eastlake's supervision.
MOLYN, PiETER, the elder, was born in London
some time before the year 1600. lie left England
and went to Haarlem, where in 1616 he entered
the Guild, of which he became president in 1633.
He married in 1624. He died at Haarlem in 1661.
He painted laildscapes in a very pleasing style,
his foregrounds being enriched with buildings
and ruins in the style of Jan van Goyen. He
was also a good figure painter. His pictures,
which are very rare, comprise the following :
Aix-la-Ohapelle &«•- | ^ Landscape.
mondt GalL. )
Berlin. A Landscape.
Brunswick. Two Landscapes.
Brussels. Museum. Festival at Night. 1623.
Dublin. Nat. Gall. The Stadtholder going to the
Chase.
Haarlem. Museum. Sacking a Village.
Florence. UJld. A Landscape.
Paris. Louiire. A shock of Cavalry.
Lille. Museum. The Dutch Coast from the Sea.
We have several spirited etchings by this artist,
which are incorrectly attributed hy Strutt to his
163
Molyn.
A BIOGRAPHICAL DICTIONARY OF
Monaldi
son, Peter Molyn, called Tempesta. They are
executed in the style of Jan van de Velde. His
prints are generally signed with his name, the P.
and M. being joined thus <T). _ Among others
are the following : tTW.'
A set of four Landscapes ; inscribed, F. de Molyn fee.
et exc. 1626.
Another set of four Landscapes ; P. Molyn fecit. 1626.
Several Candle-light pieces and dark subjects.
MOLYN, PiETEB, the younger, or Pibteo Mhller,
called also Tbmpbsta and Peteus de Muliekibus,
was the son of Pieter Molyn the elder, and was
born at Haarlem in 1632. He learned the prin-
ciples of art from his father, but having seen some
of the hunting-pieces of Frans Snyders he applied
himself to imitate the style of that master. He
did not confine his talents to huntings and animals,
but equally excelled in painting sea-storms and
tempests. When he was twenty-five years of _ age
he went to Italy, where his ability in such subjects
acquired him the name of ' II Tempesta.' At
Rome he was so popular that he was under_ the
necessity of calling in an assistant, whose sister
he married. His reputation reached Genoa, whither
he went in an unlucky moment for himself. He
there conceived a violent attachment to a Genoese
lady, and finding it vain to hope for a return while
his wife lived, he summoned her to Genoa, and
had her murdered on the way. His crime, however,
was discovered, and it was only by the intercession
of his powerful friends t^iat he escaped death. He
spent sixteen years in prison, where many of his
pictures were painted, and died in 1701. After
his release he passed under the name of Pietro
Mliller. One of his best performances is the ' Ark
of Noah,' in possession of Count Algarotti. We
may also name :
Dresden. Gallery. Three pictures of thunder-
storms.
,j „ A Landscape with John the
Baptist.
„ „ A Landscape.
Petersburg. Hermitage. Storm at Sea.
Milan. Brera. Landscape with women wash-
ing clothes.
„ „ Landscape with Shepherds.
Nantes. Museum. Sliipwreck.
MOMAL, Jacques Franqois, a French historical
painter and engraver, born at Lewarde near Dojiai
in 1754. He was a pupil of Durameau. In 1785
he was appointed Professor of the Academy of
Valenciennes. He died in 1832.
MOMBELLO, Luoa, (or Mombelli.) a disciple
of Moretto, and of Francesco Eiccliini, was a
Bresoian living in the 16th century, and the author
of a 'Presentation in the Temple' in the Tosi
Gallery at Brescia, in which city other paintings
by bim may be found.
MOMMBES, PIbndeik, was born at Haarlem in
1623, and studied at Rome, where he was called
by the associated artists ' Meleager.' His subjects
are Italian vegetable markets with peasants, land-
scapes and animals, seldom without an ass ; occa-
sionally sea-ports. He imitated the style of Ber-
ohem. In 1647 he entered the Guild of his native
town. On his return to his native country he
received scholars, some of whom proved respect-
able painters ; Brackenburg, Bernard van Schendel,
and Thierry Maes were of the number. He signed
his pictures with his initials, H. M., and sometimes
in full. He died at Haarlem in 1697. His designs
of Italian buildings are rare. Examples of his
164
work are to be seen at Berlin, Rotterdam,' and
Stockholm.
MOMPER, Feans de, supposed to have been a
son of Josse de Momper, was born at Antwei p, and
inscribed in the books of St. Lake in 1629-30. He
died at Antwerp in 1660-1 (?). Pictures by him
are to be seen in the galleries of Berlin and
Amsterdam.
MOMPER, Josse de, a landscape and marine
painter and etcher, was born at Antwerp in 1564.
His father, Baetolome de Mompbe, was also a
painter. Josse was inscribed in the guild as early
as 1581. He died in 1634. Pictures by him are
to be found in the Galleries of Amsterdam, Bruges,
Berlin, Copenhagen, and St. Petersburg, but he can
best be studied at Dresden, where there are seven of
his pictures, and at Madrid, where there are twelve.
MONA, DoMBNico, (or Monna,) was born at
Ferrara about 1650, and was a disciple of Giuseppe
Mazzuoli. He possessed a prompt and ready in-
vention, and an astonishing facility of execution,
wliich accounts for the extraordinary number and
magnitude of the works he has left at Ferrara,
where there is scarcely a church or public edifice
which does not possess something of his hand.
There is, however, great inequality in his works ;
and in viewing his best performances, such as the
' Birth of the Virgin,' and the ' Nativity of our
Saviour,' in Santa Maria in Vado, and the 'Entomb-
ment of Christ,' at the Servi, it appears unaccount-
able that he could be so negligent of his fame as
to expose to public view the slight and imbecile
productions which form the majority of his works.
Lanzi attributes this incoherence to occasional
derangement of mind, and reports that in a fit
of insanity he killed an officer of the household
of Cardinal Aldobrandini, and was consequently
obliged to take refuge in the duchy of Parma.
He died at Modena in 1602. Others of his best
works are as under :
Parma. Cathedral. The Descent from the Cross.
„ S. TauVs. Adoration of the Magi.
„ „ St. Paul beheaded.
MONACHI. See Peham.
MONACO, See Lorenzo, Dom.
MONACO, Pietro, an Italian engraver, was
born at Belluno early in the 18th century. He
chiefly resided at Venice, where he published,
in 1763, a set of 112 plates, after the most cele-
brated pictures at Venice. These prints are very
unequal ; some, however, are of merit. The follow-
ing are the best :
porteaits.
Giovanni Battista Tiepolo ; after a portrai hy himself.
Jaohpo Tatti, called Sansovino, Sculptor ; after Titian.
SUBJECTS AFTER VAEIOUS MASTEES.
Tobit restoring his Father's Sight ; after Dom. Feti.
The Adulteress before Christ ; after Faolo Veronese.
The Nativity ; after Seb. Micci.
The Murder of the Innocents ; after Giulio Carpioni.
The Last Supper ; after Fittoni.
Lot and his Daughters ; after F. Lileri.
Christ conducted to Mount Calvary ; after Giov. Batt,
Tiepolo.
Christ with the Disciples at Emmaus; after Giov,
Bellini,
The Presentation in the Temple ; after Ant. Balestra,
MONALDI, Bernardino, a painter of Florence
who flourished in the 17th century. He was a
pupil of Santi di Tito, and painted historical
subjects.
Uonaldi
PAINTERS AND ENGRAVERS.
Slonnicks
MONALDI, L. , an obscure pupil of Luoatelli.
MONAMI, Pierre, a landscape painter, born at
Spa in 1814. He settled at Rome, where lie died
in 1857.
MONAMY, Peter, was a native of Jersey, born
about the year 1670. His parents were in indigent
circumstances, and he was sent to England when a
boy, and apprenticed to a house-painter on London
Bridge. He became a marine painter, and produced
pictures which were esteemed in their day. In
South Kensington Museum there is a view of the
old East India Wharf at London Bridge, and at
Hampton Court there is a naval battle by him.
Monamy died in Westminster in 1749.
MONANNI, MoNANNO, according to Baldinuoci
was a native of Florence, and was a disciple of
Cristof ano Allori. He went early to Rome, where
be painted history, and was received into the
Academy there in 1662. In the church of San
Giovanni Decollate at Rome, there is a picture
of the ' Baptism of Christ ' by him.
MONANTEUIL, Jean Jacqces Pranqois, a
French painter, was born at Mortagne in 1785.
He studied under Girodet, who employed him in
the decoration of the palace at Compiegne. He
also found employment in drawing for the en-
gravers. For many years he taught drawing at
the Academy at Alengon, but subsequently retired
to Le Mans, where he long lived, forgotten by the
world, and died in 1860. Amongst his works are :
Le Mans.
Museum.
Two Girls begging.
»>
»»
An old Breton Shepherd
Lisieux.
Museum.
Mont St. Michel.
Rennes.
Museum.
Old Hospital at Rennes.
„
Ariadne abandoned.
)»
)»
Sailors at Dieppe.
MONARD, Pierre, an historical and ornamental
painter, who flourished at Lyons in 1548.
MONARI, Cheiptofoeo, an historical painter,
who flourished at Reggio in 1717.
MONCALVO, II. See Caccia.
MONCE. See De la Monce.
MONCHY, Martin de, a French engraver, was
born in Paris in 1746, and studied under St. Aubin.
He engraved after Monnet, Van Goyen, and others.
MONCORNET, Balthazar, was a French en-
graver, who was probably born at Rouen in 1630,
and died in 1670. He chiefly resided in Paris,
where he followed the business of a printseller.
Basan styles him one of the most indifferent en-
gravers of his country. He engraved an almost
incredible number of portraits, and a few subjects
after Rubens and other masters, among which are
the following :
The Battle of Constantine ; after Euliens.
The Triumph of Constantine ; after the same.
A set of Ornaments for goldsmiths.
A small etching of Rabbits ; in the style of Hollar.
MONDINI, FuLGENZio, was a native of Bologna,
and flourished about the year 1658.- He was a
scholar of Guercino, and painted historical subjects.
Malvasia asserts that he was one of the most
promising young painters of his period, and
would have reached a distinguished rank in the
art, if his talents had been permitted a longer
career. He died young, in 1664, at Florence, where
he had been employed by the court. There are
several of his works in the churches at Bologna, of
which the following are the most worthy of notice.
In the Annunziata the ' Angel appearing to St.
Joseph in his Dream,' and the ' Repose of the Holy
Family m Egypt.' In San Petronio two frescoes
ot subjects from the life of St. Antony of Padua.
MONDINO. See Scarsella, StoisM.
MONERI, Giovanni, was born at Visone, a
small town near Acqui, in Piedmont, in 1637. and
studied at Rome under Romanelli. In 1657 he
returned to his native town, and painted a picture
of the ' Assumption ' for the cathedral at Acqui.
At a more advanced age he painted a 'Present-
ation in the Temple,' for the church of the
Capuchins. He died in 1714.
MONGEROUX, M. de, a French amateur en-
graver, etched some plates, among which is a
landscape with figures and animals, after Casanova.
MONGEZ, Angelique, a French historical painter
and engraver, was born in Paris in 1776. Her
maiden name was Level. She was a pupil of
Regnault and David. Among her works were the
' Death of Adonis,' and ' Alexander lamenting the
death of the wife of Darius.' She died in 1855.
MONGIN, PlERRE,landscape and still-life painter,
was born in 1762. He painted scenes in Switzer-
land, and among his works is 'The Blessing of the
Flag' in the Museum at Marseilles. He died at
Versailles in 1826.
MONI, Jean, according to Papillon, was a
native of Lyons, and flourished about the year
1570. He was an engraver on wood, and executed
a set of cuts from his own designs for the ' Bible
History,' published at Lyons by William Rouille
in 1570. He also copied .the woodcuts in the Bible
executed by Salomon Bernard, which copies were
published at Lyons in 1582.
MONI, L. DE. See Db Moni.
MONIER, Pierre, a French historical painter,
born at Blois in 1639. He was received into the
Academy in 1674. He published a book upon
anatomy, and another upon the arts of design. He
worked chiefly at Rome, and died in 1703.
MONKSWELL, Robert Poreett Collier, first
Lord Monkswell, was born at Plymouth in 1817.
He chose the profession of barrister, and in 1863
became Solicitor-General, being promoted five years
later to the rank of Attorney-General. In 1871
he was appointed a paid member of the Privy
Council, and in 1885 was raised to the peerage on
the resignation of Mr. Gladstone's second ministry.
For most of his hfe he was an amateur painter,
and attained considerable facility in the painting
of Swiss landscapes, many of which were exhibited
at the Roj'al Academy. Lord Monkswell died at
Grasse, near Cannes, on October 27th, 1886.
MONNA. See Mona.
MONNAVILLB, Francois, (or Monaville,) a
portrait and historical painter, born at Brussels,
who worked at Rome, and died about 1670. He
was a member of the Roman Academy of St. Luke,
and was one of the sponsors at the reception of
Ab. Genoels.
MONNET, Charles, historical and portrait
painter was born in Paris about 1730. He was ap-
pointed professor at St. Cyr, and was still living in
1808. He was admitted into the Academy in 1765.
MONNEUSE, J. ; an artist of this name was
active at Rheims in the latter half of the 16th
century. He decorated the interior of the H6tel
de Ville, and painted many portraits of civic officers.
MONNICKS, — , (or MuNNix,) was born at Bois-
le-Duc in 1606. It is riot known by whom he was
instructed, but he went early to Italy, and studied
several years at Rome. He chiefly excelled in
architectural views, markets, and conversations.
165
Monnier
A BIOGRAPHICAL DICTIONARY OF
Montagna
His talents reoommended him to the notice of
Urban VIII., who took him into his service with
a Hberal establishment, and employed him in
several important works during his residence at
Rome. He painted the most remarkable views in
that capital — the Colosseum, the Columns of Trajan
and Vespasian, the Campo Vaocino, &o. The works
of this master are almost entirely confined to Italy,
where he passed the greater part of his life. He
did not return to Holland until he was upwards
of seventy, and died at Bois-le-Duc in 1686.
MONNIER. See Mosniek.
MONNIER, Henri, born in Paris in 1799, studied
under Gros and Girodet. He was better known
as a draughtsman than as a painter. His subjects
were family scenes and caricatures. He died in
1877. ^
MONNIES, D., a Danish still-life painter, who
died in 1856. Two works of his are to be found
at Copenhagen.
MONNOYBR, Antoine, called ' Young Baptiste,'
was the son and scholar of Jean Baptiste Monnoyer,
and painted still-life and flower-pieces in the style
of his father, which, though not destitute of merit,
were greatly inferior to his. He became a mem-
ber of the Academy in Paris in 1704.
MONNOYER, Jean Baptiste, (or Monoyeb,)
called Baptiste, a flower painter, was born at Lisle
in 1636. He studied at Antwerp, and for some
time applied himself to historical painting; but
aftei-wards took to painting flowers and fruit. He
went young to Paris, and in 1663 was received
into the Academy with distinction. He was em-
ployed by Le Brun in ornamenting the palaces
of Versailles, Trianon, Marly, Vincennes, and
Meudon. This flattering encouragement did not
prevent him from accepting the invitation of the
Duke of Montague, then our ambassador to France,
to accompany him to England. His first per-
formances were several pictures of flowers and
fruit, for the embellishment of Montague House,
afterwards the British Mugeum, which were among
the finest of his works. During a residence of nearly
twenty years in London he painted an immense
number of pictures, which decorate the mansions
of the nobility and the collections of individuals.
He exercised his talent at Burlington House, at
Lord Carlisle's, at Hampton Court, at the Duke of
St. Alban's, at Windsor, at Keddleston Hall, and at
Kensington Palace, where he painted a looking-
glass for Queen Mary 11., and flower and fruit
pieces for Queen Anne. He also etched a few
plates from his own designs, representing vases
with flowers, which are executed in a tasteful and
spirited style. Others have been engraved to the
number of eighty, forming a folio volume. He
died in London in 1699.
MONNOYER,. Jean Baptists, called Baptiste
LE Romain, was a French historical painter of the
17th century. He was received into the Academy
in 1648, and is supposed to have been related to
the better known artist of the same name.
MONOSILIO, Salvature, was born .at Messina
about the year 1700, and studied at Rome under
Sebastiano Conca, whose style he followed. There
are several of his works in the public buildings of
Rome. He painted the ceiling of one of the
chapels in S. Paolino della Regola ; and several
pictures in the church of SS. Quaranta.
MONREALESE, II. See Novelli, Pieteo.
MONRO, Henry, an English portrait and subject
painter, born in London in 1791. He was the son
163
of Dr. Monro, the well-known patron of water-
colour painters. He entered the schools of tlie
Academy, and exhibited a few pictures, his 'Dis-
grace of Wolsey' obtaining a premium of one
hundred guineas at the British Institution. His
works showed considerable promise, but his career
was cut short by death in 1814.
MONSALBE. See AoniRRB y Monsalbe.
MONSIAU, Nicolas Andre, a French historical
and portrait painter, born in Paris in 1754. He
studied under Peyron, and was elected a member
of the Academy in 1789. Much of his time was
employed in book-illustration. Prom 1787 to 1833
he was a steady exhibitor at the Salon, and a great
number of engravers were employed upon his work.
He died in Paris in 1837. Amongst his works are:
Amicus. Museum. Philoctetes in the island of Lem-
nos. 1791.
St, Denis. Cathedral. St. Denis preaching. 1814
Marseilles. Museum. Iphigenia. 1817.
Versailles. Trianon. Establishment of the Order of
St. Bruno at Paris.
Lille. Museum. Fulvia discovering to Cicero the
Conspiracy of Catiline. 1822.
Orleans. Museum. Magdalen in the Desert.
Versailles. Gallery. Louis XVI. giving instructions to
Perouse. 1817.
MONSIGNORI. See Bonsignori.
MONSIGNORI, Albert, an amateur of Verona,
who cultivated art with some success in the 15tli
century. His son Giholamo, a Franciscan monk,
painted miniatures, and was a good caligraphist.
He was commonly known as Fra Cheeubino.
MONT, Del or Van der. See Delmont.
MONTABERT, Jacques Nicolas Paillot de, a
French historical and portrait painter, born at
Troyes in 1771. He was a pupil of David, and
invented a process of encaustic painting. He is
better known as a writer on art, and published a
complete treatise on painting in ten volumes, and
other works. He died in 1849.
MONTAGNA, Bartolommeo, was born at Orzo
Novi, in Brescia, between the years 1450 and
1460, and commenced painting on his own
account as early as 1483, when he was living
at Vicenza. A ' Madonna and Child between
SS. Sebastian and Roch,' of 1487, in the Locchis
Carrara Gallery, Bergamo ; a ' Madonna between
SS. Monica and Mary Magdalene,' in the Gallery
of Vicenza ; and a ' Virgin and Child between
SS. Anthony and John the Baptist,' in the church
of San Giovanni Harione, and formerly in San
Lorenzo, Vicenza, may all be reckoned among
his early works. In 1490 the records of Vicenza
speak of him as " celeberrimus pictor " ; and it was
probably in that year that he visited Padua, where
he painted the altar-piece at Santa Maria in Vanzo,
representing the 'Virgin and Child between SS.
Peter, John the Baptist, Catherine, and Paul.'
From there he went to Verona, where he had been
asked to decorate the oratory of San Biagio, which
he probably commenced in 1493. These frescoes,
which are now much injured, represent scenes from
that saint's life. The altar-piece he painted for
the church has since been divided : one of its panels,
which represents the Saviour entombed, supported
by angels and saints, and others with SS. John the
Baptist, Benedict, Nazaro, and Celso, are in the
church of S. Nazaro, Verona ; whilst Dr. Bernasconi,
of the same city, has the two remaining, with S.
Biagio and another saint upon them. In 1496
Montagna returned to his house in Vicenza, and
devoted two years to the chapel of the Squarzi
llontagua
PAINTEHS AND ENGRAVERS.
Monte
family at San Michele, where he painted an ' En-
throned Madonna and Child, with SS. Andrew,
Sigiamiind, Monica, and Ursula,' now in the Brera
of Milan. In 1500 he executed the ' Pieta,' now in
the Berlin Gallery ; and in 1502 the Madonna
ordered by Cardinal Zeno for the cathedral of
Vicenza. From this d ate, until his death in October,
1523, he was constantly occupied in painting altar-
pieces and half-length Madonnas. Among the
fairly numerous examples of this master we may
Bergamo,
Berlin.
Museum, Virgin, with SS. Boch and Se-
bastian. 1487.
Gallery. Virgin and Child between SS.
Omobuono, Francis, and Cath-
arine.
London. Nat. Galle^-y. Madonna and Child (No. IWS).
Milan. £rera. Virgin,with Saints and Angels.
1499.
Modena. Marchese Cam- > ^r. . i ^, -, i j j. i , ..r.n '
vori I ^i''S'° ^"'i Child, dated 1503.
Paris. Louvre. Ecce Homo.
Pavia. Ceriosa. Virgin and Child, with SS.
Onofrio, John the Baptist,
and three Angels.
Venice. Academy. Virgin enthroned, with SS.
Jerome and Sebastian.
Vftrona. S. Biagio. Legend of St. Biagio.
Vicenza. Cathedral. Virgin between SS. Magda-
lene and Lucia.
„ Gallery. The Presentation.
MONTAGNA, Benedetto, was the son of Bar-
tolommeo Montagna, and was probably born in
Vicenza, During his father's life he seems to
have worked under him, though showing far less
ability. He became a master in his Guild in 1490.
No paintings signed by him are known previous to
1523, the date of Bartolommeo's death; and of
the dates of his own birth ' or death nothing
certain can be stated further than that he was
living up to 1548. The following paintings of his
exist :
Milan. Brera. Virgin and Child between
SS. Peter, Paul, Francis,
and Anthony of ]?adua.
Modena, Gallery. Virgin and Child, with
Angels and St. John the
Baptist, 1548,
Stuttgart, Musee. Marriage of St, Catharine,
Vicenza. Cathedral. Madonna and Child between
two Saints, 1535,
He also illustrated Cicero's ' de OfBciis ' with wood-
cuts, and he has left fifty-six plates of very
unequal merit, which are executed in the style of
various artists, as :
Vir"d six Angels, } (^» '^^ «^'^ "/ ''">'*-•)
Virgin Adoring the Child, )(/m <Se style of Giovanni
A Holy Family. ( Bellini.)
Orpheus charming the Animals. {In the style of
Giorgione.)
St, Jerome in a landscape.
The Sacrifice of Abraham. 1 (/« the style of A.
A naked Man with an Arrow, j Biirer.)
MONTAGNA, Marco Tullio, according toBag-
lione, was a native of Rome, and flourished in the
pontificate of Clement VIII. He was a disciple of
Federigo Zuccaro, and painted history both in oil
and in fresco. In the church of Santa Cecilia the
ceiling is painted by this master ; and in San
Niccol6 in Caroere is an altar-piece by him, repre-
senting a subject from the life of St. Nicolas.
MONTAGNA, Matt. See Pla'jtenbbrg.
MONTAGNA, Rinaldo della, (or II Montagna,)
a sea and landscape painter, a native of Holland.
He went to Italy when young, and died at Padua
in 1644. His pictures are found at Florence,
Padua, Venice, and Bologna.
MONTAGNANA, Jacopo, was a Paduan, who
entered the Guild in 1469, and, according to Vasari,
was a disciple of Giovanni Bellini.' In 1475 he
painted some frescoes in the town hall of Cividale,
which are not now in existence ; and in 1476, in
competition with Calzetta, Matteo del Pozzo, and
Agnolo Zoto, he executed the frescoes in the
Gattamelata Chapel, in the cathedral of Padua ;
in the latter church he was very constantly em-
ployed in later years. The town hall of Belluno
was decorated by him in 1490 with classic subjects
drawn from the story of the Horatii and Curiatii.
Unfortunately, when rebuilding the hall some
years ago, these frescoes were nearly all destroyed.
Conte Agostino Agosti and Signer Bucchi, botli of
Belluno, have in their possession some of their
fragments. In diflEerent portions of the Episcopal
Palace, Padua, many frescoes by Montagnana still
remain, some of them being dated 1495. In the
church of Santa Maria di Mont' Ortone, near
Padua, are a series of frescoes representing various
subjects drawn from sacred and legendary sources,
executed by this artist in 1497. Many of the
private and public galleries of his native city
possess paintings by him, and a ' Coronation of
the Virgin ' is in the Gallery of Bassano. His works
have often been ascribed to Mantegna. His will
was made in 1499, his death occurring not long
after.
MONTAGNANI, Pieteo Paolo, engraver, was
bom at Rome in 1740. With P. Ducros he en-
graved twenty-four views of Sicily and Malta.
MONTAGNY, Ehe Honoej^, a French historical
painter, born in Paris. He was a pupil of David,
and afterwards studied at Rome. In 1805 he went
as painter to the Queen of Naples, but after the
Restoration of the Bourbons he returned to Paris
where he died some time after 1815.
MONTAGU, D., was a native of France, and
flourished about 1760. He engraved several archi-
tectural subjects and views in Rome.
MONTALTO. See Danedi,
MONTALVO, Bartolomeo, a Spanish painter
of still life, bom at Sangarcia, near Segovia,
in 1769. He was a pupil of Zachary Velazquez,
and was appointed court painter in 1816, He
died in 1846. In the Madrid Gallery there are
four good examples of his art.
MONTANARI, Franoesoo, an historical and
portrait painter, born at Lugo in 1750. He was a
pupil of Gandolfi and Cignaroli. He painted in
many Italian towns, but most of his pictures are
now in bis native district. He died in 1786.
MONTANI, Giuseppe, a landscape painter, born
at Pesaro in 1641. He lived some time at Venice.
He wrote' a history, now lost, of the painters of
Pesaro, and restored pictures. He died after 1678.
MONTANINI, Pietbo, called Petruocio Peru-
GINO, was born at Perugia in 1626. He was first
a scholar of Giro Ferri, but on taking to landscape
painting he left that master, and became a disciple
of Salvator Rosa. There are many of his works in
the private collections at Perugia. He died in 1689.
MONTANO D'AREZZO. See Arezzo.
MONTE, Giovanni da, a native of Crema, who
flourished at Milan about 1580. He is said to
have been a pupil of Titian, but his work had
much in common with that of Polidoro Caravaggio,
whose pupil Aurelio Bnso was in Milan during
Giovanni's youth, and may have influenced him.
167
]S[onte Pulciano
A BIOGRAPHICAL DICTIONARY OF
Monti
Monte painted landscapes as well as histoiioal
subjects.
MONTE PULCIANO, II. See Morosini.
MONTELATICI, Francesco, called II Ceooo
Bravo, was born, according to Orlandi, at Florence
about the year 1600, and was a scholar of Jan
Bilivert. He did not, however, attach himself
entirely to the style of that master, but blended it
with that of Domenioo Cresti, called Passignano.
The name of ' II Cecco Bravo ' was given him on
account of his touchy and quarrelsome disposition.
Of his works at Florence the most remarkable are,
the ' Fall of Lucifer,' in the church of the Teatini ;
and a fine picture of ' St. Niccol6 Vescovo,' in San
Simone. He was invited to Innspruok by the
Archduke Ferdinand, and died there, painter to the
court, in 1661.
MONTEMAU y CUSBNS, Lorenzo, a Sicilian
by birth, had a considerable share in the improve-
ment of Spanish engraving in the 18th century.
After learning engraving at Rome and serving in
the Imperial army during the War of Succession,
he married and settled at Salamanca. There he
established, in partnership with one Agostini, a
manufactory of tin tobacco-boxes, adorned with
devices engraved or worked in relief, wliich be-
coming popular and lucrative, he practised as a
silversmith, receiving many scholars into his house,
and employing ten or twelve artisans and their
families. At one time he was accused of coining
false money, through a mistake as to the nature of
his engraving tools ; and at another was charged
with impiety by the Holy Office, in consequence of
having accidentally broken a wax model of the
Annunciation. Making his escape into Portugal he
died at Almeida, aged sixty-four. Amongst his
engravings was a portrait of Philip V. with the
royal arms.
MONTEMEZZANO, Francesco, was born at
Verona about the year 1555, and was brought up
in the school of Paolo Veronese. His most respect-
able performances are, his picture of the ' Annuncia-
tion,' in the church of the Osservanti alia Vigna, at
Venice ; and ' Christ appearing to the Magdalen,'
in the church of San Giorgio, at Verona. He died
in 1600, in the prime of life.
MONTEN, Heinrioh Maria Dietrich, battle
painter, was born at Diisseldorf in 1799. He
showed from his earliest youth a great love for
accounts of wars and battles, and Homer, Tasso,
and Ariosto were his favourite authors. He first
studied science, and entered the Bonn University
in 1816 ; but in order that he might have some
practical knowledge in military matters, he enlisted
as a volunteer in the Prussian army, and served
for twelve months. At the expiration of this term
he entered the Academy of Arts at Diisseldorf, and
after studying there for two years, removed to
Munich, in order to benefit by the instruction of
Peter Hess. He soon attracted the attention of
Cornelius, then at the head of the painters at
Munich, who entrusted him with the execution of
three of tlie frescoes in the arcade of the Hofgarten ;
namely, the ' Storming of the Turkish Entrench-
ment by the Bavarians, at Belgrade in 1717,' the
' Battles of Arcis sur Aube,' and the ' Granting of
the Bavarian Constitution by Maximilian Joseph
in 1818.' He painted many other large battle-
pieces, in which the Germans figure as the victors ;
and also many smaller pictures. He died at
Munich in 1843. Two of his pictures are in the
Berlin National Gallery.
168
MONTENAT, J., was an engraver on wood,
and, according to Papillon, executed several cuts
from the designs of Simon Vouet. Dumesnil
mentions a print by him of the ' Virgin and Child.'
MONTERO, Lobenzo, born at Seville in 1656,
excelled in architectural decorations, landscapes,
fruit and flowers, which he painted in water-colours.
He was much employed in 1684 at the Retiro, but
his works there have perished. In the chapel of
St. Martha, in the church of St. Jerome at Madrid,
are still to be seen traces of his skill in ornamental
design. He was not equally successful in oil paint-
ing ; the only work worthy of notice, in this way,
being the portrait of Philip V., which is dated
1701, and is now in the convent at Paular. He
died at Madrid in 1710.
MONTERO de ROXAS, Juan de, a Spanish
painter, was bom at Madrid in 1613. He was a
pupil of Pedro de las Cuevas, and studied in Italy.
He died at Madrid in 1688. Of his pictures in
the churches at Madrid, Palomino particularly
commends the ' Assumption of the Virgin,' in the
church of the Atocha ; the ' Angel appearing
to St. Joseph,' in San Juan de Alarcon ; and the
'Destruction of Pharaoh's Host,' in the sacristy
of the convent de la Merced. He copied and
imitated the pictures of Caravaggio.
MONTESSUY, Jean Franqois, a French his-
torical painter, born at Lyons in 1804. He was a
pupil of Ingres and Hersent. He died in 1876.
MONTEVARCHI, an obscure pupil of Perugino,
born at Montevarchi about 1460. Pictures by him
are to be found at Perugia and Borgo San Sepulcro.
MONTEZUMA, Pedro de, Cqnde de Tula, a
Spanish noble, who enjoyed some repute as an
amateur painter at Madrid. He died about 1670.
MONTFOORT, Antonis van, was a Dutch painter,
born at Montfort in 1532. His real name was Van
Bloklandt, and beseems to have been called Mont-
foort from his possession of an estate near Mont-
fort. He was a pupil of Franz Floris, in whose
style he painted historical pictures. He married
at the age of nineteen, and settled at Delft. In
1572 he went to Italy, and on his return he
settled at Utrecht. He was much employed in
the churches of Holland. In the great church at
Utrecht were three pictures by him, representing
' The Birth of the Virgin Mary,' ' The Annuncia-
tion,' and ' The Assumption.' At Gouda he painted
' The beheading of John the Baptist,' and at Dor-
drecht several pictures of the Passion. He died
at Utrecht in 1683.
MONTFOORT, Pieter Gerard, a Dutch painter,
perhaps an amateur. He worked at Delft early
in the 17th century and was a pupil of Michael
Mierevelt. Van Mander speaks highly of his
powers.
MONTHBLLIBR, Alexandre Jules, an obscure
French painter of still-life and interiors. He was
a pupil of Bouton. He died in 1824.
MONTI, Francesco, called II Bolognese, was
born at Bologna in 1685, and was brought up in
the school of Giovanni GiosefEo dal Sole. On
leaving that master he was taken under the protec-
tion of the Conti Ranuzzi, for whom he painted a
' Rape of the Sabines.' He was afterwards em-
ployed at the court of Turin, wher3 he painted
the ' Triumph of Mordecai.' Of his numerous
works in the churches at Bologna the most esteemed
are, ' Christ with the Disciples at Emmaus,' at the
Osservanti : the ' Virgin in Glory, with St. Barbara
and St. Filippo Neri,' in the Madonna di Galeria ;
Honti
PAINTERS AND ENGEAVEES.
Moore
and the ' Martyrdom of St. Pedele,' at tlie Cappuo-
cini. He died in 1768.
MONTI, Fbancesco, called II Beiscianino dellb
Battaglie, was born at Brescia in 1646, and was
a scholar of Pietro Ricchi and Jacques Courtois (II
Borgognone). He excelled in painting horses and
battles, which he designed in a spirited and masterly
style. There are many of his works at Rome,
Genoa, Venice, Naples, Patrma, and in Germany.
He died at Parma in 1712.
MONTI, Giovanni Battista, according to So-
prani, was the son of a poor mendicant, and was
bom at Genoa about the year 1610. When a boy
he discovered an uncommon disposition for art, by
sketching on the walls of the houses, which being
noticed by a Genoese nobleman, he charitably took
him under his protection, and placed him as a
pupil under Luciano Borzone. His progress under
that master was very rapid, and he became a
respectable painter of history, but still more dis-
tinguished in portraits. He died of the plague in
1667.
MONTI, Giovanni Giacomo, an Italian battle
and ornament painter, born at Bologna in 1621.
He was a pupil of Metelli, and in company with
Bianchi and Caccioli he painted in the villa of the
Duke of Modena. He died in 1692.
MONTI, Innocenzo, a native of Imola, was a
pupil of Cignani. He has left several pictures in
his native district, but he succeeded better in Ger-
many and Poland than in his own country. A ' Cir-
cumcision ' painted for the Jesuits' church at Miran-
dola was the subject of a contemporary poem. It
was painted in ^1690. Innocenzo died about the
end of the 17th century.
MONTICELLI, Andrea, according to Orlandi,
was born at Bologna in 1640, and studied per-
spective under Agostino Mitelli. He designed
some architectural views in imitation of that
master, but he chiefly excelled in painting flowers,
fruit, vases, and other still-life. He died in 1716.
MONTICELLI, Michelangelo, was born at
Bologna in 1670, and was first a scholar of Marc
Antonio Franceschini, but afterwards studied under
Domenico Viani. He excelled in painting land-
scapes and battles. In the midst of a promising
career he had the misfortune to lose his sight.
He died in 1748.
MONTIGNY. See Litteet.
MONTMIEAL, Le Maiquis DE, is said by Basan
to have etched several plates of landscapes from
his own designs, and others after Albert. They
are dated from the year 1720 to 1740.
MONTOEFANO, Giovanni Donato, was a
Milanese artist living in the 15th century, who
painted in 1495 the ' Crucifixion ' which faces Da
Vinci's 'Last Supper' in the refectory of Santa
Maria delle Grazie, Milan. He is said to have been
a pupil of Foppa. Messrs. Crowe and Cavalcaselle
have assigned to this artist the frescoes in the
church of Santa Maria della Eosa, as well as those
of the legend of St. Anthony in one of the chapels
in San Pietro in Gessate, both in Milan. The dates
of Montorfano's birth and death are alike unknown.
He was in all probability identical with the Giov.
Battista Montorfano who helped Foppa to value
some frescoes in the Castello of Porta Giovia be-
tween 1467 and 1476.
MONTPETIT, Akmand Vincent de, a French
painter, was born at Macon in 1713. In his early
days he was a student of jurisprudence and me-
chanics. By the time he reached middle age, he
had lost all his fortune, and thenceforward applied
himself to painting, especially to miniature. Fur
this art he invented a new process, which he called
eludorique. He died in Paris in 1800.
MONVERT, Ldoa, was born at Udine in 1491,
and died in 1629. He was a pupil of Pellegrino,
and painted the altar-piece of the church of Santa
Maria delle Grazie, Udine, which represents the
'Virgin and Child between SS. Roch, Gervase,
Protase, and Sebastian.' He is known likewise to
have painted several banners for churches, although
nothing now remains of his labours. Crowe and
Cavalcaselle quote a number of documents relating
to his family affairs.
MONVOISIN, Raimond Augdste Quinsao, was
born at Bordeaux in 1796, and first studied under
Lacour, and then came to Paris and entered the
studio of Gu^rin, and obtained the second prize for
Rome in 1831. He died at Boulogne-sur-Seine in
1870. His wife, Domenica, nie Festa, painted
also. Among his best pictures may be mentioned :
Jane of Castile at the Death-bed of her Husband. 1834.
The Death of Charles IX. 1835.
Sixtus V. throwing away the Crutch.
Death of Gilbert in the Hotel Dieu. (Nancy.)
MONZA, Fra Antonio da, a minorite, who
flourished about 1500, is the author of some minia-
ture paintings of merit, now in the Albertina Col-
lection, in Vienna — executed in imitation of the
manner of Leonardo da Vinci. The 'Descent of
the Holy Ghost ' is noteworthy alike for colour
and design.
MONZA, NoLFO DA, a painter of Milan who
flourished about 1500. He was a pupil of Bramante.
MONZA, Teoso DA, or Troso di Giovanni
Jacobi, of Milan, the painter of the frescoes bearing
the signature of the Zavattari in the cathedral of
Monza, was born about 1450 at Lomazzo. In 1477
he was at work in- Bergamo with one Scannardi
d'Averara. In 1490 he was commissioned to paint
in the Porta Giovia palace by Lodovico Sforza.
He afterwards decorated the facade of the Men-
dozza palace at Milan with designs much belauded
by Lomazzo. Troso was still alive in 1500.
MOOJAERT. See Moijaet.
MOONS, Lddwig Feanz, historical and stilUlife
painter, was born at Antwerp in 1769. He first
.studied under A. de Quertemont. In 1792 he re-
ceived the first medal of the Academy, after which
he went to DUsseldorf to study the works of the old
masters. In 1798 he went to Dresden, where he
remained till 1805, and then went to St. Petersburg,
returning afterwards to Antwerp, and becoming a
Fellow of the Academy. In 1820 he wentto Italy,
where he stayed three years, returning home
through Switzerland, Munich, and Stuttgard. He
died in 1844. In the Church of St. Jacques,
Antwerp, there is a 'Disciples at Emmaus' by
him.
MOOR, Ant. de. See Mor.
MOOR, Karel de. See De Mooe.
MOORE, Geoege Bolton, an English landscape
painter, born in 1806. He was much employed as
a teacher of drawing at University College, London,
and at the Royal Military Academy. The elabor-
ate perspective of Frith's railway station is said to
be his work. His pictures frequently appeared at
the Royal Academy up to 1859. He published
works on the theory of perspective and colour. He
died in 1876.
MOORE, J. C, who was born at Gainsborough
in 1829, was the son of William Moore, a portrait
169
Moore
A BIOGRAPHICAL DICTIONARY OF
IVTorace
painter. He became a student in tlie Royal
Acaderny in 1861, and at first devoted iiinjself to
portraiture. He subsequently spent a great part
of liis time in Italy, making sketches of Florence
and Rome and their neighbourhoods. He painted
both in oil and water-colour. He died in 1880.
His Italian scenes were deservedly popular.
MOORE, Jacob, a Scottish landscape painter,
generally known as ' Moore of Rome,' was born at
Edinburgh in 1740. His first instruction in art
was gained in Eunciman's School of Design, but
his style was chiefly formed on the model of
Claude after he went to Italy in 1773. He acquired
considerable reputation, and was much patronized
by Prince Borghese. Several landscapes of an
ambitious character were sent by him between
1784 and 1789 to the Exhibition of the Royal
Academy. Notices of him occur in the works of
Miss Berry and Goethe, who both visited his studio
at Rome. He died in that city in 1793. The fol-
lowing examples of his work may be named :
DorkiDg. -0^|;^J«^ I View in the Campagna.
Eome. Villa Borghese. Vale of Tempe and Metamor-
phosis of Daphne.
Florence. Vffizi. Portrait of himself.
MOORE, Jamus, an English engraver, born before,
the middle of the 18th oentui-y, who was in 1763 a
member of the Free Society of Artists. Amongst
liis plates are :
Cupid ; after Vanloo. k
Portrait of "Whitfield ; after Jenkins.
The Four Quarters ol the "World.
Joseph and Potiphar's "Wife.
MOORE, Mary, an English portrait painter who
lived towards the middle of the 17th century. She
is mentioned by Walpole, and in the Bodleian there
is a portrait by her of Cromwell, Earl of Essex,
which is, of course, a copy from the work of some
one else.
MOORE, Samuel, was, according to Lord Orford,
a gentleman who held a situation in the Custom-
house. He flourished about the year 1715, and
appears to have dedicated much of his time to
drawing and engraving. His prints are coarsely
etched, and retouched with the graver. Among
other plates, he engraved the ' Coronation Pro-
cession of King "William III. and Queen Mary,'
which, as it is without the name of the designer,
may be presumed to be from his own composition.
MOORREES, Christian Willem, a Dutch
amateur who painted horses with some success
at the beginning of the present century. He was
a native of Nimeguen, and held a post there under
government.
MOORTEL, Jan, (or Moetel,) was born at
Leyden in 1650, and was a painter of fruit, flowers,
and still-life. He died at Leyden in 1719. His
wqrks are chiefly confined to Holland. He copied
the works of De Heem and Mignon so skilfully as
to deceive the amateurs of his time, and no doubt
many of his copies pass now for the works of
those masters.
MOORTELE, or MOORTERE. See Van der
MOORTELB.
MOOSBRUGGER. See Mosbrdqqer.
MOR, Antonis, (or Moor,) called in England
Sir Antonio More (in Spain Moro), was born at
Utrecht in 1512, and in the early part of his life
was a scholar of Jan van Scorel. He afterwards
went to Italy, where he passed some time in study-
ing the works of Michelangelo and Rapliael. On
170
his return to Holland he devoted himself to an
imitation of tlie style of Holbein, in which he was
more successful. He was recommended to the
protection of the Emperor Charles V. by his
countryman Cardinal Granvella, and in 1552
arrived at the court of Spain, where Prince
Philip (afterwards King Philip II.) sat to him, and
was sent into Portugal to paint the portrait of
Philip's first wife, Donna Maria, when he also
painted those of John III. and Catharine of Austria,
his queen, sister to Charles, which were executed
so much to the satisfaction of the Emperor, that
he was two years afterwards sent to England to
paint that of Queen Mary, previous to her becoming
the second wife of Philip. He returned with Philip
to Spain, who treated him with an intimacy and
familiarity which had nearly proved fatal to him.
Philip was accustomed to honour him frequently
with a visit when he was painting, and in a moment
of condescension and admiration, slapped him
jocosely on the shoulder, when the painter in-
discreetly drew his brush across the King's fingers,
smearing them with carmine. The jest was rash,
and the King was not of a disposition to be played •
on with impunity. The attendant courtiers stared
with amazement, but Philip passed it over with a
smile. The artist threw himself on his knees,
begged pardon, and everything appeared to be
forgotten ; but he was secretly advised to with-
draw himself from Spain, afld he lost no time in
returning to the Netherlands, where he was after-
wards patronized by the Duke of Alva. The
talents of Sir Antonio More were not confined to
portraits ; he painted several historical subjects
for the royal collection in Spain, most of which
perished in the conflagration of the palace of the
Pardo. He died at Antwerp before 1582. Among
his better works we may name :
Berlin. Gallery. Three Male Portraits.
Brunswick. „ The man with the Gloves.
Brussels. „ Portrait of Hubert Goltzius.
„ „ Portrait of the Duke of Alva.
Portrait unknown.
Two Male Portraits.
Portrait of Jeanne d'Archel.
Portrait of Sir Thomas Gresham
{one of Mot's finest works).
Thirteen Portraits.
Two Portraits.
Portraits of Sir Thomas and Lady
Gresham.
"Vienna. Belvedere. Portraits of Queen Mary and six
others.
MORA, Diego de, a painter who accompanied
Pizarro to the conquest of Peru. He made a
drawing of the Emperor Atahualpa. He died
after 1535.
MORA, Geronimo, was a Spanish artist, born
about 1540, employed among others by Philip
III. to paint the frescoes in the palace of the
Pardo. He was a pupil of A. S. Coello. He died
in 1599.
MORACE, Karl Friedrich, was born at Naples
in 1766 or 1767, and studied at Stuttgart under
Johann Gotthard von Miiller. He became court
engraver in 1790, and visited Italy in 1792. He
engraved several of the prints in the .' Galerie de
Florence,' ' Mus6e Frangais,' and 'Galerie d'Orleans.'
He died in 1820. Among others he also engraved
the following portraits :
Sohubart ; after Oelenhainz.
Johann Gotthard Muller ; after TisMein.
Angelica Kauffmanu ; after Reynolds.
Dresden. „
London. Nat. Gall.
„ portrait Gallery.
Madrid.
Paris. Louvre.
Petersburg. He7~mitage.
Morales
PATNTEES AND ENGRAVERS.
Moreau
MORALES, Francisco de, a painter, born at
Terceira, one of the Azores, in 1660, was a friend
and pupil of Palomino. He was a Carthusian. At
Padua there are works by him. He died in 1720.
MORALES, Luis de, called El Diving, was born
at Badajoz,' in Estremadura, in the beginning of
the 16th century. The name of his instructor in
art is not known. He formed his style by the
study of Michelangelo and Leonardo da Vinci.
Hi^ pictures generally represent the head of our
Saviour crowned with thorns, or that of the Virgin
in grief ; and it is said there are few instances of
his having drawn the figure at length. His heads
are pathetic, and are finished with great care, but
it must be allowed that he was an artist of a con-
tracted genius and of a barren invention. He died
at Badajoz in 1686. Whatever may have been the
motive for calling him El Divino, he must not be
judged, however, by the execrable pictures so often
assigned to him. His larger works are confined to
the churches, and even his smaller are rarely seen
out of Spain. The latter are painted either on
wood or copper, and seldom extend to more than
a bust. For an account of the pictures he left
behind him see Cean Bermudez, torn. iii. The
following are some of his principal works :
Badajoz. Oinrehof the ) y^^^ ^^^ c^j ^^^g
Conception. ) °
„ „ Christ carrying the Cross.
Dresden. Museum. Bece Homo.
Dublin. 2Vat. Oall. St. Jerome in the Wilderness.
Madrid. Gallery. Bcoe Homo.
„ „ Virgin ' de los Dolores.'
„ „ Presentation in the Temple.
„ „ . Virgin and Child.
„ „ Salvator Mundi.
„ S. Isidro. Scourging of Christ.
Paris. Louvre. Christ carrying the Cross.
Seville. Cathedral. Ecoe Homo.
Toledo. Museum. Christ.
MORAN, BAETOLOMi, an obsure Spanish painter,
who was in 1664 a trustee of the Seville Academy.
MORAN, Santiago, a Spanish historical and
landscape painter, was living and practising at
Madrid about 1640. Bermudez mentions three
pictures by him, one a ' St. Jerome,' in the possession
of an amateur of the name of the Baron de Casa-
Davalillo ; another, the head of St. Jerome, in the
possession of D. Nicholas Lameyra, which Le
Brun mistook for the work of Albani ; a third, St.
Jerome on bis knees, and quite naked, has been
engraved ; but the engraver, not being acquainted
with Moran's works, has put the name of Guercino
to the print. Moran designed a set of the Muses
for the beautiful work of Quevedo, edition 1670,
and produced many fine landscapes.
MORANDI, Giovanni Maria, according to
Lanzi, was born at Florence in 1622. He was a
disciple of Giovanni Bilivert, and, on leaving that
master, visited Venice. He afterwards went to
Rome, where he painted several altar-pieces for the
churches, and was also employed for private col-
lections. Of his works at Rome, the most deserv-
ing of notice are his ' Visitation of the Virgin to
St. Elizabeth,' in the church of Santa Maria del
Popolo ; and the ' Death of the Virgin,' in La Pace.
The latter is considered his masterpiece, and has
been engraved by Pietro Aquila. He was also
much employed as a portrait painter, and in that
capacity was invited to Vienna by Leopold I.,
where he painted the family of the Emperor,, and
the portraits of many of the most distinguished
personages of Germany. He lived tothe advanced
age of ninety-five, and died at Rome in 1717.
MORANDINI, Francesco, called II Porn, was
born at Poppi, a small town in the Florejitine
state, in 1644. He was a scholar of Giorgio Vasari,
whose style he followed, though more minute in
detail and more addicted to the gay and festive
in his compositions. Of his works in the churches
at Florence, Vasari particularly notices his ' Con-
ception,' in San Miohelino, and his ' Visitation,' in
San Niccol6. There is a ' Death of St. Peter
Martyr ' by him in the Vienna Gallery. He died
about 1584.
MORANDO, Paolo, usually called Cavazzola
(or Cavazzdola), after his father, was born in
Verona in 1486. He was the son of Thaddeus
Cavazzola, who was the son of Jacopo di Morando.
He painted some of the frescoes in the library of
San Bernardino, Verona, having been probably
employed there by Francesco Morone. In private
hands in Italy there is a half-length ' Virgin
and Child,' dated by him in 1509 ; and in SS.
Nazaro e Celso are frescoes by him, dated 1510,
representing an ' Annunciation ' and two saints ;
and a 'Baptism of Christ,' in a chapel of Santa
Maria della Vittoria Nuova, is of about the same
date. In the Verona Museum are four canvases
with saints, and five with scenes from the Passion
(one with the date 1517), all foi-merly in San
Bernardino. His last painting was the ' Virgin in
Glory and eight Saints,' formerly the altar-piece of
San Bernardino, and now in the gallery of Verona ;
it is dated 1522. In that same year Morando died,
as recorded in the registers of the fraternity of SS.
Siro e Libera, to which he belonged. Among his
best works we may also name :
London. Nat. Gallery. St. Eoch, with the Angel.
1518.
„ . )» Madonna and Child, with St.
John the Baptist and an
Angel.
Verona. Museum. Christ bearing the Cross.
„ „ A Deposition. 1517.
„ „ Christ crowned with Thorns.
MORASCH, Christian Gottfried, a painter and
engraver, was born at Dresden in 1749. He painted
miniatures, portraits, and etched several views of
Dresden and the neighbourhood. He died in 1813.
MORAVA, Matthias, a Polish painter and
etcher who flourished about 1650.
MORAZONE, GiACOMO, (or Gieolamo,) a painter
of the Venetian school who flourished in 1441.
Vasari calls him the rival of Jaoobello del Fiore,
but at present no work of his can be identified.
MORAZONE, II (or Mohanzone). See Mazz-
UCHELLI.
MORE, Johann Caspar, engraver, was a native
of Zurich, and flourished about the year 1694. He .
was principally employed in engraving portraits for
the booksellers.
MOREAU, EDMi, engraver, according to Florent
le Comte, was a native of Rheims, and worked in
Paris from 1617 to 1660. He engraved several
plates from his own designs, and from those of St.
Igny and others.
MOREAU, Jean Michel, called Moreau lb
JEUNB, painter, designer, and engraver, was born in
Paris in March 1741. He was the son of a wig-
maker, and although he early showed his love for
art, it was long before he won any facility with his
pencil, so long that, we are told, he was'called 'Le
Boeuf by his fellow-students. At the age of
seventeen he went to St. Petersburg with Louis
Joseph le Lorrain, but as that artist died two years
later, Moreau returned to Paris, where he abandoned
171
!DIoTeau
A BIOGRAPHICAL DICTIONARY OP
Morel-Fatio
painting to enter the studio of Le Bas. There he
practised design, and learnt a delicate and viva-
cious style of engraving. Even yet, however, he
was not at home as a draughtsman, and it was not
until 1769, when he was twenty-eight years of age,
that he produced the ' Plaine de Sablons,' the first
original work in which his peculiar gift made itself
clearly felt. This drawing, which was engraved by
Le Bas, led to Moreau's appointment as " Dessina-
teur des menus plaisirs," and, five years later, as
" Dessinateur du Cabinet du Hoi." In 1785 Moreau
visited Italy, and, like Wilkie, came back with a
style quite different, and, to modern eyes, far
inferior to that of his former productions. In
1793 he became a member of the Commission for
Art, in 1797 a professor at the ;6cole-Centrale in
Paris. Towards the end of his life he seems to
have fallen into poverty, for in 1814 we find him
writing to Renouard, the publislier, that he was
without a penny. But on the restoration of Louis
XVIII. he was appointed to his old office of
" Dessinateur du Cabinet du Roi," a post, however,
which he did not long enjoy, for he died on
the 30th November in the same year. The designs
left by Moreau amount to more than 2000 :
of these about 200 are in illustration of Voltaire
and Rousseau ; others are in editions of Ovid,
Moliere, Lafontaine, Regnard, Marmontel, Delille,
Barth61emy, Laborde, &e., and a very large number
were made and afterwards fitted with text, by
Restif de la Bretonne and others. Of these by far
the most important are contained in the ' Suite
d'Bstampes pour servir a I'histoire des Moeurs et du
Costume dans le Dix-huitieme Si^ole,' the publi-
cation of which was begun in 1775, Moreau's work
in it, however, only commencing with the second
part. The following prints by him may be
specially noted :
The Crowning of Voltaire.
The Bath of Bathsheba ; after Eemhrandf.
The Consecration of Louis XVI. at Bheims.
Four plates, forming a large print of the FSte given at
Paris in 1782 for the Birth of the Dauphin.
The Tomb of J. J. Rousseau ; J. M. Moreau, fee. 1778.
A set of twenty- live small plates for the first volume of
the * Chansons de la Borde.'
Plates to the Nouvelle Helo ise.
Plates for an edition of Voltaire's ' Puoelle.'
Series of plates for the illustration of manners and
costume in the 18th century.
MOREAU, Louis, a French engraver, was bom
in Paris about 1712. He was chiefly employed in
engraving ornaments, but he also produced the
following plates from pictures :
Portrait of the Jesuit Ludovicus de Ponte.
Portrait of J. B. Babel ; after Watteau.
The Eaising of Jairus's Daughter ; after La Fosse.
MOREAU, Louis Gabriel, known as Moreau
l'ain^, bom in Paris in 1740, was a brother of
'Moreau le Jeune.' He painted landscape and
architecture with considerable success. He lived
for a time in London, but died in Paris in 1806.
MOREAU, P., a French architect and engraver,
flourished from 1750 to 1760. He designed with
great taste, and etched some plates of architectural
subjects from his own compositions.
MOREELSE, Paulus (or Moreelze, Moeeel-
SEN,) was born at Utrecht in 1571, and is distin-
guished by Van Mander as a painter, an architect,
and an engraver. At first he practised portrait
painting under Michiel Mierevelt, but he afterwards
went to Rome, where he studied some time. On
liis return to Holland he painted some historical
172
subjects and architectural views, which were not
without merit, though he was more employed in
portraiture. He died at Utrecht in 1638. The
following pictures by him may be named :
Amsterdam. R. Museum. PortraitofMariaV., Utrecht.
„ „ Portrait of Frederick V.,
King of Bohemia.
„ „ Portrait of J. de Jochem
Hendr. Swartenhont.
„ „ A Shepherdess.
„ „ " La petite princesse." .
„ „ Portrait of a Lady.
Hague. Museum. Portrait of the Princess of
Nassau and of Holland.
Rotterdam. Museum. Seven portraits, including
that of Ooen.
I, „ Three lieligious Subjects.
„ „ Two Idyls.
As an engraver we have three capital etchings by
him, executed in chiaroscuro ; they are designed
in a masterly style, and by being printed in three
tints, produce a very pleasing effect. They are
now become scarce. He sometimes signed with
his name at length, the P. of the baptismal name
being joined to the M., and sometimes with liis
initials only. Plates :
Cupid led by two Females, dancing ; P. Moreelze. 1612
The Death of Lucretia ; the same mark and date.
Cupid contemplating a Landscape.
MOREL. This name was borne by a family of
decorative and still-life painters at Lidge, in the
last century. Of these Jean Baptiste (died about
1754), Jean Remi (died 1739), and Jean Pierre
(born 1702 ; died 1764) seem to have been the
more notable.
MOREL, Antoine Alexandre, a French en-
graver, was born in Paris in 1765, and became a
scholar of Massard, and more especially of David.
He engraved several of the plates for the ' Mus^e
Francois ' and for the ' Galerie de Florence,' and
many detached pieces after David, Ingres, Giraud,
and other contemporary painters. He died in
1829. Nagler gives an account of about thirty of
his principal pieces.
MOREL, Francesco, (Morelli,) an engraver,
was born in 1768. He worked chiefly at Rome,
and executed several engravings after CI. Lorrain,
Carracci, and also several views of Rome after his
own designs.
MOREL, FRANgois, a French engraver, born
about 1768, was a pupil of Volpato. He worked
chiefly in Italy, and he has left some landscapes
after P. Hackert.
MOREL, Jan Evert, a painter of fruit and
flowers, was born at Amsterdam in 1777, and was
a scholar of Linthorst. Hs had previously studied
under Troost van Groenendoelen, and at the Hague
with F. van der Aa. On his return to his native
city he studied the works of Jan van Huysum.
There is a vase of flowers by him in the Museum
at Amsterdam. He died in 1808.
MOREL-FATIO, Antoine Leon, who was born
at Rouen in 1804 or 1810, distinguished himself as
a painter of landscapes and marines, and brought
himself first into notice by his ' Bombardment of
Algiers,' at which he was personally present. He
obtained several medals, was a knight and ofiicer
of the Legion of Honour, and conservator of the
Louvre. In 1854 he was in the expedition to the
Black Sea, and published several views of its coast
scenery on his return. He died in Paris in 1871.
Other important paintings by him are :
A Panorama of Algiers {since engraved). 1836.
The Bombardment of Tangier.
Morel!
PAINTERS AND ENGRAVERS.
Xfforgeusteru
The French Fleet during a Storm. 1846.
View of Bomarsund, and the Attack upon it. 1854.
Views of the Italian Coast.
Illustrations of the Banks of the Maes.
MOBELL, Gerhard, a painter, was born at
Copenhagen in 1729. He was appointed art-in-
spector by the Danish government, and died in 1769.
MORELL, Jakob (or Morel, Moerbl, Morreels).
See Marel.
MORELL, Nicolas, was born at Antwerp in
1664, and was a scholar of N. Verendael, a painter
of flowers and fruit. He painted similar subjects
to those of his instructor, and also excelled in
painting vases with bas-reliefs, and other objects
of still-life, for which he acquired a celebrity which
occasioned him to be invited to the court of Brus-
sels, where he was engaged in ornamenting the
palaces, and in painting for the collections of the
principal nobility. He died at Brussels in 1732.
MORELLAN db la CAVE, F., a French en-
graver, was the pupil of Bernard Picart, and
flourished about the year 1730. He lived for
some time in England, and engraved some por-
traits, chiefly for the booksellers. We have by
him :
■William Augustus, Duke of Cumberland.
John Locke,
Dr. Edward Pocoke. {Prefixed to his Theological Works.)
Frederick IV. of Denmark.
Machiavelli.
A. Vivaldi. 1725.
His own Portrait.
Alexander and Boxana ; after Coypel.
MORELLI, Bartolommbo, called II Pianoro,
was born at Pianoro, a small town in the Bolognese
state, about the year 1629, and studied at Bologna
under Francesco Albani. He painted history with
great success, particularly in fresco. Among his
numerous pictures at Bologna the most remark-
able are, his ' St. Teresa,' in the church of La
Madonna delle Grazie, and the ' Resurrection,' in
the Buon Gesu. But his most admired performance
is the chapel of the Casa Pepoli, in San Bar-
tolommeo di Porta. He died in 1683.
MORENO, Josef, a Spanish painter, born at
Burgos in 1642. He was a pupil of De Sohs. He
was made court painter by Charles II. He was
called "Painter of the Virgins," as his pictures
chiefly represent ' Madonnas,' ' Conceptions,' ' As-
sumptions,' &c. He died in 1674.
MORENO, Lorenzo, a Genoese Carmelite, who
lived about 1644. His work is praised by Soprani.
He was the author of a fresco of the ' Aimunciation,'
in the Carmine, which was afterwards cut out of
the wall and placed in the church.
MORETO, NiCCOLO, a Paduan, who is said by
Vasari to have 'lived eighty years, and always
exercised his art.' He is probably identical with
Giovanni Miretto (q. v.).
MORETTI, Bartolommbo, painter, a native of
Bologna, was a pupil and nephew of Pasinello.
He was a priest of St. Philip Neri, and died in
1703.
MORETTI, Cristoforo, called Rivello, born at
Cremona, flourished about 1460. According to
Lomazzo, he worked at the ducal palace of Milan
in company with Bembo, and painted there a
' Passion,' which gained for him a high reputation.
For S. Aquilirio he painted a 'Madonna and Saints,'
on which Lanzi deciphered the inscription Christo-
phorus de Moretis de Gremona, which seems to
confradict the assertion of Cremonese writers, that
he was the son of Galeazzo Rivello.
MORETTI, PiETRO and Giovanni Jacopo, were
brothers, who flourished at Cremona between 1480
and 1498.
MORETTO, Faustino, an obscure Brescian artist,
who was at work in Venice in the 17th century.
MORETTO, GiosEFFO, a native of Friuli, who
married the daughter of Pomponio Amalteo,
Quintilia (herself an able painter), and assisted
his father-in-law. At San Vito there is an altar-
piece signed 'Inohoavit Pomponius Amalteus,
perfecit Joseph Moretius, anno 1688.'
MORETTO DA BRESCIA, II. See Bonvicino.
MOREY, — , was a painter of Majorca, born at
Palma, in Majorca, in 1696. His best known
work was an immense composition of ' Our Lord's
Tomb surrounded by the Host of Heaven,' painted
on a curtain fifty-four palms square, wliich was
exposed du7-ing Holy Week in the church of Santa
Eulalia, at Palma, and known as ' The Veil of the
Temple.' Others of his works were in the same
church. He died in 1750.
MORP, Johann Caspar, an engraver of Zurich,
who worked from 1680 to 1696.
MORFF, GOTTLOB Wilhblm, portrait painter,
was born at Stuttgart in 1771. He was court
painter to King Friedrich of Wurtemberg. His
best portraits are those of Professors Haug, Seubert,
and Andr^, and of Chancellor Konig. He died at
Stuttgart in 1867.
MORGENSTERN, Christian Ernst Beenhard,
was born at Hamburg in 1806, and was placed in
1813 under the tuition of Suhr, a panorama painter,
whom he had to accompany on his tours in
Germany, Denmark, and, in 1822, in Russia, under
very harsh treatment. Under Bendixen,his second
instructor, he began really to study pauiting, and
afterwards visited Norway, where he collected
sketches of which he afterwards made use at
Copenhagen, where he attended the Academy until
1828. He went to Hamburg in 1829, and soon
after established himself at Munich. Prom 1832
to 1842 he spent much of his time in travelling.
Morgenstern represented flat regions with especial
skill, but was also sucessful in painting scenes
from the Alps. He was a member of the Academy
at Munich. He died at Munich in 1867. We
have eleven etchings by him. Among his best
pictures are:
The Waterfall of Houg-Foss.
The Cobalt Mine, Fosum.
The plain of Munich. 1830.
The Zehmgrund in the Tyrol.
Torrent between two Eocks, 1835.
A Eocky Heath near St. Hippolyte, Alsace. (^Munich
Pinaliothek .)
Storm at Sea ; in the same.
Fisherman's Cottage by a still piece of Water.
The Eising Moon.
Moonlight Night on the Elbe.
MORGENSTERN, Johann Friedrich, painter
and etcher, was born at Frankfort in 1'778. He
was first instructed by his father, Johann Ludwig
Ernst Morgenstern ,and afterwards went to Dresden
to study. He painted chiefly landscapes and
animals.
MORGENSTERN, Johann Ludwig Ernst, was
a painter of landscapes, houses, and church
interiors, as also an etcher, and was born at
Rudolstadt in 1738. In 1766 he entered the
Academy at Salzdalen ; he then went to Hamburg,
where he was employed by a restorer of pictures
in 1768. After a sojourn first at Frankfort and
then Darmstadt, he finally returned to Frankfort,
173
Morglien
A BIOGRAPHICAL DICTIONARY OF
Morglien
where he died in 1819. In conjunction with his
son he made some 200 copies from the old masters,
which were sold in England. Some of his pictures
are in the Stadel Gallery at Frankfort.
MORGHFjN, Antonio, engraver, and younger
brother of the famous Rafaello Morghen, has
engraved :
The Transfiguration ; after Saphael.
Winter ; after Michau.
A Holy Family ; after Raphael.
A,dam and Eve ; after Eeni.
MORGHEN, FiLiPPO, who was born in Italy
about 1730, distinguished himself as a designer
and engraver. After having studied for seven years
at Rome, he was employed at Naples, where he
carried on a trade as printseller, and received the
title of engraver to the King of the Two Sicilies.
The date of his death is unknown. He was the
father of Rafaello, and the brother of Giovanni
Blia, Morghen. He executed a considerable number
of plates for the 'Antiquities of Herculaneum,'
published at Naples in 1757, but his most important
plates are :
A set of the Twelve Apostles, after the statues by
Baccio Bandinelli at Florence.
Thirty-one Landscapes and Views of Buins in the
Environs of Naples.
MORGHEN, Giovanni Elia, was born at
Florence in 1721, and was for a time a scholar
of D. Ferretti. He engraved for the Marchese
Gerini the greatest part of the plates of ' Pitture del
Salone Imperiale del Palazzo di Firenze,' after the
paintings of Giovanni Manozzi, Balthasar Frances-
chini, and other artists. In 1767 he published six
plates of the 'Antiquities of Psestum,' after
Antonio Joly. He signed his works G. M. R.
(Regius) d. ; Oio. Morg, B. dis. or a monogram.
MORGHEN, Rafaello, one of the most celebrated
engravers of modern times, was born at Florence
in 1768. By his father, Filippo, and his uncle
Giovanni Elia, who were both engravers, he was
very early instructed in the first principles of his
art, and even in his twelfth year he executed a
plate after tlie Prophets of Baccio Bandinelli, at
Florence. His first engravings, however, of con-
sequence, were seven plates from the Masks of
the Carnival of 1778, the Pilgrimage of the Grand
Signior to Mecca ; a work of such extraordinary
merit for a youth of twenty, that his father was
desirous he should receive the best instruction
that could be procured, and sent him accordingly
to Volpato, at Rome. His first employment was
copying a print of E. Sadeler, 'Christ and Mary
Magdalene in the Garden,' and shortly after Gavin
Hamilton's allegoric figure of ' Painting,' for the
brothers Hackert. In 1781 he engraved Raphael's
figures of ' Poetry ' and ' Theology,' in the Vatican.
In this same year he married Volpato's only
daughter, Dominica, and afterwards worked in
conjunction with his father-in-law, assisting him in
his ' Parnassus,' after Raphael. In 1787 he en-
graved the ' Aurora ' of Guido, in the Rospigliosi
Palace, which for some time was considered his
finest plate. Many other important works followed,
among which, 'The Last Supper,' after Leonardo
da Vinci ; ' The Transfiguration,' and the ' Madonna
della Sedia,' after Raphael ; the ' Duke de Moncada,'
after Van Dyck ; the Portraits of Raphael, the
Fornariua, Leonardo da Vinci, the Five great Writers
of Italy — Dante, Boccaccio, Petrarch, Ariosto, and
Tasso — are brilliant examples. The whole of his
works have been fully described by his scholar.
Palraerini, to whom it was his custom to give an
174
impression, in every state of the plate, from the
first outline to the finished proof. The whole of
this collection was purchased bj' the Duke of
Buckingham for £1200. In 1793 Morghen was
appointed Professor of the Academy at Florence,
by the Grand Duke Ferdinand III. He was a
member of several academies, and a ooiTesponding
member of the French Institute. Morghen died
at Florence in 1833. The following list is taken
from Palmerini :
PLATES EXECUTED AT NAPLES.
1. A Youth Praying.
2 & 3. Two plates ; after Londonio (Shepherds and
Flocks).
4-11. Eight figures of Prophets ; after B. Bandinelli.
12. II giuco di Pallone.
13. Statue of Isis.
14. View near the Temple of Venus Genitrix, at Baise.
15. „ of Lava beds at Herculaneum.
16. „ of two Hexastyle Temples.
17. „ of a Temple.
18. „ of a Temple.
19. Caligula's Bridge.
20. La Grotta del Cane.
21. Portrait of Ferdinand IV., King of the Two S'cilios ;
after Fr. Liani.
22. Portrait of Maria Carolina, his queen ; after the same.
23-34. Scenes from the Masquerade at I^aples in tLe
Carnival of 1778.
35. Arms of the Duke of Cassano Serra.
PLATES EXECUTED IN EOMB.
36. Christ appearing to Mary Magdalen.
37. St. Mary Magdalen ; after Guido.
38. ' Painting ; ' after Gavin Hamilton
39. ' Poetry ; ' after the same.
40-41. ' Mater Dolorosa.'
42. Sea View ; after du Cros.
43-46. Illustration to the Story of Germanicus ; after
Grandjean.
47. ' Poetry ; ' after Raphael's lunette in the Vatican.
48. ' Theology ; ' after the same.
49. ' Jurtsprudence ; ' after the same.
50-58. Nine Views of Padua.
59-62. Portrait of the Princess della Boccella, and three
illustrations for her works ; after F. Fischietii.
63. The Miracle of Bolsena ; after Raphael.
64-5. Two sheets of heads from Raphael's frescoes in
the Vatican.
66. Unknown Portrait; after Mierevelt.
67. * Philosophy ; ' after Raphael's lunette in the Vatican.
68. ' Justice ; ' aftei^ the same,
09-70. Two plates of Bacchus (?) engraved in collabor-
ation with Volpato ; after P. F. Mola.
71-77. Seven Views of Terui.
78-113. The Study of Design, in thirty-six plates.
114. Parnassus ; after R. Mengs.
115. Diana Hunt-ng ; after Domenichino.
116. Portrait of Stanislaus Augustus, King of Polaud ;
after D. Cardelli.
117. Portrait of the Cavaliere Gaetano Filangieri ; after
Tofanelli.
118. St. John the Baptist ; after Guido.
119. Holy Family ; after Rubens.
120. Vignette.
121. Nozze di Germauico ; after Domenico del Frate.
122. Theseus ; after Canova.
123. St. Philip Neri.
124. Madonna ; after Andrea del Sarto.
125. Aurora ; after Guido.
126. His own portrait, from his own design.
127-129. Three Landscapes.
130. Lot and his Daughters ; afer Guido.
131. Riposo ; after Nicholas Poussin.
132. Dance of the Seasons ; after the same.
133. Angelica and Medora ; a/ter Teod. Matteini.
134. Funeral of Pius VI. ; after Tofanelli.
135-6. Two Vignettes with portraits.
137. Portrait of Charles III. of Naples.
138-9. Two Medallion portraits of Charles IV. and
Ferdinand IV. of Naples.
Morghen
PAINTERS AND ENGRAVEIIS.
Morin
140. Head of Augustus ; from an antique marlle.
141. The Comic Muse ; after Angelica Kauffmarm.
142. Head of Jupiter ; from an antique Cameo.
143. Portrait of Filippo Morghen.
144. S. Pius V.
145-157. Portraits of Count Francesco AJgarotti.
158. Tomb of CieraentXIII. ; after Canova.
159-161. Suor Maria dell' Incarnazione ; after Matteini.
162. Portrait of General Francesco di'Moncada; after
Van Dyck.
163. ' II Presepio ; ' after E. Mengs.
164. Madonna della Seggiola ; after Ratphael.
PLATES EXEODTED AT FLOEENCE.
Madonna della Seggiola ; after Raphael.
' Charity ; ' after Gorreggio.
Portrait of Alfieri ; after Fr. Xav. Falrre.
The Holstein Beek Family; after Angelica Kauffmann.
Portrait of Domenica Valpato Morghen ; c^ter the
same.
'. Portrait of Fortunata Sulgher Fantastic! ; after the
same.
Portrait of Maccbiavelli ; after A. Bronzino.
Portrait of Ovid in a Medallion.
Head of a Nun.
Portrait of Madama Fu'ger.
La Madonna dell Sacco ; after Andrea del Sarto.
The Transfiguration ; after Raphael.
The Virgin with the Sleeping Christ ; after Titian.
Visiting Card for Senator Bartolini.
Venus ; from an antique Cameo.
The Last Supper ; after Leonardo da Vinci.
Portrait of Deodato Turchi ; after Fr. Vieira.
Madonna ; after Caravaggio,
Card Plate.
Card Plate for Murat.
The Archangel Gabriel ; after L. Sabalelli.
Portrait of Giovanni Valpato ; after A ng. Kauff-
mann.
Portrait of Giorgio Jonas Mayer ; after Ettlinger.
Penitent Magdalen ; after Muriilo.
Portrait of Attilio Zuocagni ; after Santarelli.
St. Philip Neri ; after Tofan.lU.
Portrait of Raphael Sanzio.
„ „ Dante ; after Tofan Hi.
■4. „ „ Louis XVIII. ; after the sa,me.
Medallion portraits of the King and Queen of
Etruria.
'. Book plate for the King of Etruria.
. Portrait of an Austrian Prince (?)
. Madonna ; after Lo'J. CaiTacci.
Mary Magdalen ; after Ermini.
Portrait of Petrarch ; after Tofonelli.
ilDsculapius ; from an antique marble.
Portrait of Canova; after A. d'Este.
„ „ Dante.
Head from the ' Transfiguration ; ' said to be that
of the Foruarina ; after Raphael.
Portrait of Tasso ; after Ermini.
„ „ Napoleon ; after Tofanelli.
Head of Christ.
Portrait of Ariosto ; after Tofanelli.
The ' Transfiguration ; ' after R-iphael.
Card plate.
Napoleon on the Great St. Bernard ; after David.
Portrait of Jacopo Trivulzi.
Madonna del Cardellino ; after Raphael. »
Medallion portrait of the Grand Duke Ferdi-
nand III.
The Fornarina (?) ; after Raphael {Seb del Pirnnbo).
Portrait ef Elisa Bonaparte Baciocohi ; after Counts.
The Child Christ ; after Carlo JDolci.
Portrait of Leo X. ; after Raphael.
Madonna del Latte ; after Garofalo.
Portrait of Louis XVIII. ; after Augustin.
„ „ Alessandro Volta.
Christ appearing to Mary Magdalen; after Bar-
oceio.
Portrait of Mr. Denison.
„ Leonardo da Vinci ; after Baroccio.
„ Costanza Foruari ; after S. Panario.
„ Michelangelo ; after A. Santarelli.
„ Count o'BIci.
„ Cav. Giovanni degli Alessandria.
165.
166.
167.
168.
169,
170,
171,
172,
173,
174
175,
176.
177.
178.
179.
180.
181.
182.
183.
184.
185.
186.
187.
188.
189.
190,
191.
192
193-
195
196
197
198.
199.
200.
201
202.
203.
204.
205.
206.
207.
'208.
209.
210.
211.
212
213!
214.
215.
216.
217.
218.
219.
220.
221.
222.
223.
224.
225.
226.
227.
228.
229. Portrait of Prince Metternieh.
?o?' The Head of Christ ; after Leonardo da Find.
231. Salvator Mundi ; ' after Carlo Dulci.
232-3. Portraits of Francis I. of Austria
234. ' Madonna Laura ; ' after 8. Memmi.
235. Portrait of Fr. Guicciardini.
236. „ „ Lorenzo de' Medici ; after Vasari
237. Portrait of Ferdinand III. of Tuscany ; after jjmnn
Ender.
238. The Ages of Man ; after Gerard.
239. Portrait of Giovanna d'Aragona ; aftir Raphael
240. „ „ Carlo Goldoni.
241. Portrait of Ferdinanda, Grand Duchess of Tuscany ;
after Gozzini.-
242. Portrait of Gioacchino Rossini ; after Bartolini.
243
244.
245.
246.
247.
248
„ Boccaccio ; after Bartolini.
„ the Principessa di Ventimiglia.
„ Cellini: after Vasari.
„ Antonio Pittaro ; after Atoche.
„ Lord Byron ; after Bartolini.
„ ,) Giov. Fantoni ; after Fr. Tenderini.
249.- La Maddalena del Vaso ; after Carlo Bold.
250. II Morbetto di Rafl'aello ; after Raphael.
251. La Madonna del Granduca ; after the same.
252. Portrait of Canova ; after P. Benvenuti.
(Besides these Morghen exemted four plates in conjunction
with Aug. Nail., F. Bartolini, and Antonio Mason.)
MORIER, David, was born at Berne, in Switi^er-
land, in 1706. He came to England in 1743, soon
after the battle of Dettingen, and was presented
by Sir Edward Faulkener to the Duke of Cumber-
land, who settled on him a pension of two hundred
pounds a year. He distinguisbed bimsell: as a
painter of battles, horses, dogs, &o., and also of
portraits, on which he was extensively employed.
The first two Georges both sat to him. He died in
London in 1770, and was buried in St. James's,
Clerkenwell. He was a member of the Incorporated
Society of Artists.
MORILLAS, Cecilia. See Sobkino.
MORIN, Jean, a French painter and engraver,
was born in Paris about the year 1609, and died
in the same city in 1666. He was a disciple of
Philip de Champagne, and for some time practised
painting, which he afterwards abandoned, to apply
himself entirely to engraving. His plates are
executed in a mixed style, being partly burin-work
and partly etching; but they produce a very pleas-
ing efieot. His best prints are his portraits in the
style of Van Dyck, many of which are executed
in a masterly manner. His landscapes in the
style of Plattenberg are of equal repute. We
have 108 plates by Iiim ; the following are the
best:
POBTEAITS AlfTER PHILIPPE DE OHAMPAIGNE.
Louis XIII. King of France ; octagon.
Anne of Austria, Regent ; octagon.
Cardinal de Richelieu.
Jean Baptiste Amador, Abb6 de Richelieu.
Cardinal de Mazarin.
Cornelius Jansen, Bishop of Ypres.
Jean Paul de Gondy, Cardinal de Retz.
Fran9ois de Sales, Bishop of Geneva.
S. Carlo Borromeo, Cardinal, and Archbishop of Milan.
Jean Pierre le Camus, Bishop of Bellay.
Jean du Verger, Abbe de St. Siran.
Michel de Morillac, Keeper of the Seals.
Michel le Tellier, Secretary of State.
Jacques Tuboeuf , President of the Chamber of Accounts.
Rene de Longueuil, President a Mortier.
Henri de Lorraine. Comte d'Harcourt.
Nicolas de Neufville, Marquis de Villeroy.
Charles de Valois, Due d'AngoulSrae.
Robert Arnauld, Seigneur d'Andilly.
Vincent Voiture.
Jacques le Mereier, Architect to the King.
Antoine Vitr6, Printer.
175
IVIorin
A BIOGRAPHICAL DICTIONARY OP
Morland
PORTRAITS AFTER VARIOUS MASTERS.
Jacques Augusts de Thou, President of the Parliament ;
after Ferdinand.
Fran9ois Augustin de Thou, President ; after the same.
Philip II. ; after Titian.
Guide, Cardinal de Bentivoglio ; after Vandyek.
The Countess de Bossu ; after the same.
Margaret Lemon ; after the same.
Charles de Mallery, Engraver and Printseller ; after the
same.
Jerome Franck, Painter ; se i^se ^inx.
SUBJECTS AFTER VARIOUS MASTERS.
The Adoration of the Shepherds ; after Fhil. de
Champai^ne.
The Virgin and Infant Jesus ; after the same.
The Crucifixion, in three sheets ; after the same.
The Taking down from the Gross ; after the same.
The Assumption of the Virgin ; after the same.
Two half-lengths of St. Peter and St. Paul ; after the
same.
The Virgin, with the Infant Jesus on her knee, holding
a bouquet of flowers, inscribed, Dilectus mens mihi;
after liaphael.
The Virgin adoring the Infant Christ ; after Titian.
The Virgin, with the Dead Christ ; after Carracci.
A Landscape, with Ruins ; after Claude Lorrain.
A Landscape, with a Man driving two Cows; after
Fouquieres.
Another Landscape, with figures ; after the same.
A set of tour Landscapes, with iluins and Figures;
after Corrtelis Poelemhurg.
A Landscape, with Kuins and a Fountain ; after J. B.
Corneille.
MORIN, Robert. In 1506 an artist of this name
painted a pavilion in the Chateau Gaillon for the
Cardinal d' Amboise.
MORINA, GlULlo, according to Malvasia, was a
native of Bologna and a scholar of Lorenzo Sabba-
tini ; but he owed his best improvement to an
attentive study of the works of the Carracci. He
painted history, and there are many of his works
in the churches at Bologna, of which the most
worthy of notice are, the ' Crucifixion,' ia SS.
Sebastiano e Rocoo ; the ' Visitation of the V irgin
to St. Elisabeth,' in Sant' Uomobono ; and the
'Presentation in the Temple,' at the Servi.
MORINELLO, Andrea, a native of Genoa, and
pupil of Lodovioo Brea. He flourished at the
beginning of the 16th century. The church of
San Martino di Albaro at one time contained an
altar-piece by him, dated 1516, which Soprani
commends. The Scottish National Gallery possesses
a picture of a ' Piping Shepherd ' by him, and the
catalogue asserts that he was born in 1490. The
date of his death is unknown.
MORINI, Giovanni, an obscure Italian painter,
a native of Imola, and a pupil of Giuseppe Maria
Crespi. He died about 1780.
MORIOT, Nicolas Marie, a French miniature
painter, and native of Versailles, where he was at
work in 1788. He was a pupil of Soiron pere.
MORIS, R., a scholar of Godfried Schaloken,
has left a cabinet picture, representing an old
Man holding a small Owl in his hand. He died
young.
MORISON, Douglas, an English water colour
painter, born about 1820. He studied under F.
Tay'ler, and was elected an Associate of the Water
Colour Society in 1843. He died in 1847. He
published the following works :
' Views of Haddou Hall.' 1842.
' Views of the Ducal Palaces of Saxe Coburg.' 1846.
MORITZ, Lonis, born at the Hague in 1773, at
first studied science, which he subsequently
deserted for painting. His instructor was Dirk
176
van der Aa, but he was largely indebted to his
observation of nature. He was a member of the
Dutch Institute and of the Academy at Brussels,
and distinguished himself also as a modeller,
sculptor, and machinist. He died in 1850. Among
his best works are :
The Imprisonment of Cleopatra by Proculus.
The Battle at Nieuwpoort.
The Council of War of the National Guard at
Amsterdam.
The Death of Antoninus Pius {^Amsterdam Museum).
Moritz's wife, Anne Reyermans, was a painter
of flowers and fruits.
MORLAND, George, painter, was bom in
London 26th June, 1763. He was the son of
Henry Robert, and the grandson of George Henry
Morland (q. v.). There was a tradition in his family
that it was in the line of succession to a baronetcy
created in the time of Charles II., and some of
Morland's biographers go so far as to say that
there could be no doubt as to his pedigree, and
that he had only to claim the title to get it. The
usual tales of youthful precocity are told of the
painter's childhood. He drew on dusty tables
when he was three. At four he was surprised at
work in the parental studio by Benjamin West,
when his father sent him ofE with a kick, and the
remark that he would either be hanged or a genius.
At ten he had mastered the anatomy of mice and
various other small animals. At twelve he modelled
ships. At eighteen he taught himself the violin.
His father, who was a stern man, like the fathers
of most prodigals, gave him a fair general educa-
tion, and then, when his artistic powers began to
unmistakably show themselves, did his best to
turn them to his own advantage. He shut the boy
up in an attic, first to paint and draw from pictures
and oasts, afterwards to make copies, which the
father sold to the dealers. Even then, however,
the son managed to trade on his own account. He
used to make bargains with friendly Jews, and
paint pictures for them on boards, which he con-
cealed during the day in a drawer of his colour-
box, and at nightfall lowered by a string to the
waiting clients below. To the rigour of his youth-
ful discipline Morland owed, no doubt, much of the
extraordinary facility which distinguished him in
later life, and the inevitable rebound from such a
state of tension may also count for something in
the influences that made of him the debauchee into
which he had degenerated at the time of his death.
It is said that at the expiration of his apprentice-
ship to his father, Romney offered to take him into
his own house in Cavendish Square, with an annual
salary of £300, on condition of his signing articles
for three years. This offer Morland refused. He
had probably had enough of apprenticeship I He
how removed to an independent lodging at the
house of a picture-dealer, where he first fell into
idle and dissipated habits, and became the prey of
his unscrupulous landlord. Escaping at last, he
went to Margate, where he painted miniatures for
a time, and thence to France. Returning to London,
he settled at Kensal Green, and here he painted
the pair of pictures by which his name was first
brought prominently before the world. These
were ' The Idle ' and ' The Industrious Mechanic,'
afterwards engraved by John Raphael Smith.
Here too he made the acquaintance of William
Ward, the engraver, whose sister Anne or Nancy
he married in 1785. William Ward not long after-
wards married Morland's sister Maria, and for a
IVEorland
PAINTEES AND ENGRAVERS.
Morolini
time they all lived together, but disputes arising
between the wives, the friends agreed to part, and
Morland established himself first in Great Portland
Street, and afterwards in Camden Town. Here,
we are told by his friend William Collins, he lived
beyond his means, spending large sums on dress,
on expensive wines, and other luxuries. From
this time forth he seems never to have been free
from pressing difficulties. He continually changed
his home to elude his creditors. Surrounded by a
body-guard of boon companions, and by a gang of
unscrupulous dealers, who paid him a small fixed
rate a day, and took their chance of what they could
get for their money before the carouse of the
evening began, he flitted from one haunt to another,
working as hard as ever in the intervals of hard
drinking. About this time he lived successively
at Lambeth, East Sheen, Queen Anne Street, the
Minories, Kennington, and Hackney. At Hackney
a strange adventure befell him. The neighbours
had their suspicions aroused by his secluded habits,
and made up their minds that he was a forger of
bank-notes. They reported his proceedings to the
Bank directors, with the result that presently some
ofScers from Bow Street came and overhauled the
premises, the painter,. who had taken them for
sheriff's ofScers, making off across the fields at the
back. When the matter was cleared up, the
directors sent Morland two notes for £20 each as
a solatium.
Many of Morland's best pictures were painted in
-the " rules " of the King's Bench prison. In these
circumstances he generally received four guineas
a day and his drink from the dealers who exploited
him. One spunging-house keeper fitted up a regu-
lar studio for him in the attic of his house, and at
one time the collection of "Morlands "he, was thus
enabled to accumulate was reputed the best in
London. It is probable, however, that many of
the stories told of Morland's dissipation are either
untrue or grossly exaggerated. No man who was
perpetually drunk could have turned out such a
mass of good work as Morland produced in his
short life. His best period was about the year
1790. His worst excesses seem to have been com-
mitted after that date. Before then he appears to
have been a spendthrift rather than a drunkard ; a
weak, sanguine, shy, and vain man rather than a
hopelessly vicious one. In 1804 he was arrested
at the suit of a publican, and taken to a spunging-
house kept by a man named Atwell, in Byre Street,
Clerkenwell. There he died on the 29th October,
in his forty-second year. His much-tried wife
died three days later, and they were laid in one
grave in the burial-ground attached to St. James's
Chapel, in the Hampstead Road.
It is difficult to understand the extraordinary
popularity of Morland's work during his lifetime.
The demand for it must have been almost inex-
haustible, for, if one may believe the stories told by
his intimate friends, he was able not only to get
whatever he wished for his pictures, and that at a
moment's notice, but also to abuse the patience
of his clients in the most outrageous fashion with-
out driving them away. More than one dishonest
dealer found it profitable to keep a staff of copyists
at work, multiplying the pictures Morland would
dash off at a sitting, and completing their daubs
with the initials " G. M." Morland's good work
now stands very high in the estimation of con-
noisseurs, and especially for those qualities of
technique to which the buyers of his pictures
VOL. II. N
eighty years ago must have been, for the most
part, blind. Among his pictures of animals, the
Stable,' in the National Gallery, is perhaps the
finest. Among his scenes from the life of his time,
the series of six pictures known as 'Letitia' de-
serves, perhaps, the first place. To make an ex-
haustive list of his works would be impossible.
Those mentioned below are in public collections :
Glasgow. Gallery. River Scene.
» „ Three Sea-coast landscapes.
London. Nat. Gall. Interior of a Stable. {Said to be
that of an old inn, the " White
Lion," at Paddington.)
„ South Kensington ) mi. t> i
Museum, j The Reckoning.
A Stable.
Coast scene with figures.
Ditto.
Girl in a landscape, with a dove.
CoHelS) } "^°^°°'® Soing to the Fair.
A very large number, not far short of two
hundred and fifty, of Morland's pictures have been
engraved. Among those who executed plates
after him, the most notable were William Ward,
his brother-in-law, John Raphael Smith, and S.
W. Reynolds. ■',if /^
MORLAND, George Henry, painter, was born
early in the eighteenth century. He was the
grandfather of George Morland. His art was
popular in its time, but in 1760 he was assisted by
a grant from the Incorporated Society of Artists.
He died in 1789. lu the Glasgow Gallery there is
a picture by him, ' An Oyster-seller,' which was
engraved by Philip Dawe. Watson and others
also engraved after him.
MORLAND, Henbt Robert, son and pupil of
the last-named, and father of George Morland, was
born about 1730. He painted portraits in oil and
drew them in pastel ; he scraped a few mezzo-
tints ; he was a picture-dealer and a picture-cleaner ;
but in spite of all these various means of earning
a competency, he was always in difficulties, and
more than once a bankrupt. His work is unam-
bitious, but by no means without merit. He painted
a portrait of George III., which was engraved by
Houston ; a portrait of Garrick as Richard III.,
which is in the Garrick Club. Lord Mansfield has
a fancy portrait of two young ladies as laundry-
maids, by him. He died in a street off Rathbone
Place, November 30th, 1797. His age is sometimes
given as eighty-five, which must be a mistake, as his
father was not born till after the commencement
of the 18th century. His wife, Maria Morland,
was an exhibitor at the Academy in 1785-6.
MORNER, Carl Gustas Hjalmar, a Swedish
painter, was born in 1794. His pictures, of which
there are two in the Stockholm Gallery, belong
mostly to the higher genre and to history. He
died in 1837.
MORO, Ant. See MoR.
MORO, Del. See Angolo bel Moro.
MORO, II. See Turbido.
MORO, Lorenzo del, a Florentine painter, who
died in 1725. He was a pupil of Jacopo Chiavistelli,
and at one period of his life was employed on
frescoes in Rome.
MOROLINI, Marco Valebio, a painter of the
Bolognese school, was born at Forli, and flourished
in the early part of the 16th century. He was
probably a pupil of Melozzo, and has left several
pictures in his native city, the chief of which is a
'Madonna and Saints.' It is dated 1608.
177
Morone
A BIOGRAPHICAL DICTIONARY OF
Mortimer
MORONE, DoMENico, called by his townsmen
Pelacanb, because his father was a tanner, was
born at Verona in 1442. His register as burgess
of that city is dated 1491, and in 1493 he was one
of the masters deputed to report on the merit of
certain statues ordered for the Council Hall. In
1603 he was appointed to paint the library of the
convent of San Bernardino : these frescoes can be
still seen, and consist of pictures of the Virgin and
Child and Saints, with bust figures of three of the
Popes. In these he was assisted by his son Fran-
cesco and other artists. In 1508 he linished the
frescoes in Santa Maria in Organo, which have
since perished. In the Cappella of Sant' Antonio
at San Bernardino are many frescoes that can be
doubtless assigned to Morone, but they are too
much damaged to decide which subjects are by
him. The date of his death is uncertain. Two
decorative panels by hira have been lately (1886)
added to the National Gallery.
MORONE, Giovanni Feancesco, son of Do-
nienico Morone, was born at Verona in 1473. He
assisted his father for some years. One of his
earliest paintings is an arched panel with the
' Crucifixion,' dated 1498, in the Cappella della Croce
of San Bernardino ; the side panels of which, con-
taining SS. Bartholomew and Francis, are in the
Verona Museum. At Santa Maria in Organo is a
large altar-piece with the 'Virgin and Child be-
tween SS. Augustine and Martin,' commissioned in
1603 ; and a similar subject dated 1604 is in the
Brera of Milan. In the sacristy of Santa Maria in
Organo are his finest frescoes ; they were probably
executed in the first years of the 16th century. In
1516 Morone and Girolamo dai Libri painted the
organ shutters for the same church, which are now
in the parish church of Marcellise, near Verona.
On the wall of a house near the Ponte delli Navi,
Verona, a fresco representing the ' Madonna, Child,
and Saints,' painted in 1616, is still to be seen.
Amongst his latest works are the 'Virgin and
Child between SS. Joseph, Anne, Vincent, and
Franfcis,' dated 1520, in the Locchis-Carrara Gallery,
Bergamo, and the ' Virgin and Child between SS.
Elizabeth and James,' outside the lateral portal of
San Fermo, Verona. Morone died in Verona on
the 16th of May, 1629. In the churches and col-
lections in Verona many other paintings by him
are to be seen. The following may also be cited :
Berlin. Museum, Virgin and Child.
London. iVai. Gall. Madonna and Child.
Padua. Communal Gall. Virgin and Child, with two heads
of Angels.
MORONI, Giovanni Battista, was bom at
Bondio, near Albino, in the Bergamese territory,
about 1620. He was a scholar of Alessandro
Bonvicino, called II Moretto, whose studio he prob-
ably entered about 1536. As a subject painter
Moroni never became the equal of his master. In
that genre his best works, perhaps, are the 'Coron-
ation of the Virgin,' in the Church of the Trinity,
Bergamo, and 'The Last Judgment,' painted for
the parish church of Gorlago, near Bergamo. As
a portraitist, however, Moroni has seldom been
equalled. His portraits are sufficiently numerous,
but many of them pass under other names. The
earliest dated picture by him known to ' LermoliefiF '
is the Berlin portrait of a young man, which is
signed Settembre XX. MDLIII. Moroni acquired
a wide fame in his own lifetime, and it is said that
Titian used to send clients who came to him for
portraits from the province of Bergamo back to
178
Berlin.
Dresden.
Dublin.
Gallery.
Nat. Gall.
their own country, to be painted by tlieir own man.
Moroni died at 13ergamo on the 6th of February,
1578. Among his better works we may name :
Gallery. Portrait of a young man. 1553.
„ Portrait of the painter.
Portrait of a savant.
Portrait of a man. 1557.
Portraits of a gentleman and his
two children.
Portrait of a scholar.
' II Tagliapanni ' (portrait of a
tailor),
„ Portrait of a lawyer.
„ Portrait of an Italian noble.
„ Portrait of an Italian lady.
„ Portrait of an ecclesiastic (the
Canon Lndovico Terzi of Ber-
gamo).
Stafford House. ' The Jesuit ' (portrait of Ercole
Florence. Uffi'^i-
London. Nat. Gattery,
Madrid. Museo. Portrait of a Venetian captaiii.
Munich. Gallery. Portrait of a lady.
Petersburg. Her- \ Portrait of a man (inscribed be-
mitage. j low, NosCE te Aphton [sicj).
Vienna. Belvedere. Two male portraits.
Among the pupils of Paul Veronese there was
one PiETEO MoEoNi, whom Orlandi calls a descend-
ant of Giambattista Moroni. \y ^
MOROSINI, Feancesco, called II Monte Pul-
CIANO, was, according to Baldinucoi, a Florentine,
and a scholar of Orazio Fidano, in whose style he
painted a picture of the ' Conversion of St. Paul,'
for the church of San Stefano at Florence.
MORREALESE, II. See Novelli, Pieteo.
MORRIS, Thomas, anEnglishengraver,iIourished
in the second half of the 18th century. He re-
ceived instruction from Woollett, and worked for
Boydell. Amongst the plates he engraved we
may name :
Landscape and Eiver ; after B. Wilson.
La femme rus6e ; after Collet.
Skiddaw ; after Loutherhourg.
View of St. Paul's ; after W. Marlom.
View of the Monument ; after the same.
Hawlring and Fox-hunting ; after Gilpin.
MORTEL, Jan. See Mooetel.
MOETELEQDE, Ferdinand Henri, a Flemish
artist, bom about 1775, who painted mostly on
glass. He was much employed by Charles X. and
the Due de Berry.
MORTEN, Thomas, was born at Uxbridge in
1836. He entered the art school of Mr. Leigh in
Newman Street at an early age, and devoted him-
self to the study of drawing on wood. His chief
work consisted of contributions to the illustrated
periodicals and other publications, among them
'Gulliver's Travels,' but he did not confine himself
entirely to black and white, as is proved by two
pictures, 'Pleading to see the Prisoner,' and 'Con-
quered, but not Subdued,' which were exhibited in
tlie Royal Academy in 1866. In the autumn of
the same year he died, it is said by his own hand,
on account of pecuniary difficulties.
MORTIMER, John Hamilton, was born at East-
bourne, in Sussex, in 1741. His father was collector
of customs at that port, and his uncle is said to
have been a painter of some talent. As he was
frequently admitted into the painting-room of his
relation, he conceived an early inclination for art.
It is not improbable that he originally imbibed his
taste for the terrific from the romantic scenery
which was the haunt of his youth, and the savage
hardihood which marked the countenances of the
bands of reckless smugglers by which the place
SCorto
PAINTERS AND ENGEAVERS.
Mosley
was infested. He was sent to London, and placed
as a pupil under Hudson, from whose instruction
a mind of his cast could derive no advantage, and
he owed his greatest improvement to his constant
attendance in the Duke of Richmond's gallery.
He was encouraged and assisted in his studies also
by the benevolent Cipriani, who recommended him
to the particular patronage of the duke, who was
desirous of detaining him in his house, but the
ofEer was rejected. Soon afterwards he gained, in
competition with Romney, the premium of one
hundred guineas given by the Society for the En-
couragement of Arts, Manufactures, and Commerce,
for the best historical picture, which was adjudged
to his painting of ' St. Paul converting the Britons,'
which in 1770 was presented by Dr. Bates to the
church of Chipping Wycombe in Buckinghamshire.
The reputation of Mortimer was now established,
and he successively increased his celebrity by the
production of his picture of ' King John granting
Magna Charta,' the ' Battle of Aginoourt,' ' Vorti-
gern and Rowena,' and other admired works. He
designed the ' Elevation of the Brazen Serpent '
for the great window of Salisbury Cathedral, and
the cartoons for the stained glass at Brazenose
College, Oxford. For some years he was a member
of the Society of Artists, who exhibited at a room
on the site of the Lyceum, in the Strand. In the
year 1779, without solicitation or expectation, he
was created a royal academician, by the especial
grant of His Majesty, but he did not live to re-
ceive his diploma. After an illness of a few days,
he died at his house in Norfolk Street, in 1779.
In the South Kensington Museum is a picture of
' Hercules slaying the Hydra,' and two water-
colours. We have several etchings by Mortimer,
mostly from his own designs, which are executed
in a bold, free style. We may name the following :
The Virgin teaching St. John to read ; after Gumino.
Twelve circular plates of characters from Shakespeare.
Nature and Genias introducing Gairick into the Temple
of Shakespeare.
Fifteen Studies ; after Salv. Bosa, Lairesse, arid others.
There is a portrait of Mortimer by Richard Wilson in
the Diploma Gallery, Burlington House.
MORTO DA FELTRE. See Luzzi.
MORTON, Andrew, painter, was born at New-
castlg-on-Tyne in 1802. He was a student in the
schools of the Royal Academy, where he was
premiated in 1821. He was patronized by the
family of William IV., of whom he painted a good
portrait, which is in the Painted Hall at Green-
wich. Morton died in 1845.
MOSBRUGGER, Feiedeich, (or Moosbeuggee,)
was born at Constance in 1804, and after being
instructed by his father Wendelin, entered the
Academy at Munich in 1821. He visited Rome in
1827, Naples in 1828, and in 1830 St. Petersburg,
where he died the same year. There was much
humour and nai'vetl in his works, among which we
may name :
The Neapolitan Improvisatore.
An Artist's atelier.
The Bust of a Roman lady.
A Landscape near Civitella.
MOSCA, Feancesco, was probably a pupil of
Giulio Romano, as Cadioli in his ' Descrizione '
mentions two pictures as being at Mantua in 1763,
one of which he describes thus : " The altar-piece
of the church in the convent of the Franciscan
nuns represents Christ going to Calvary, a crowd
of people who buffet and persecute Him, and the
N 2
Maries who follow Him grieving and weeping.
This is a picture which in reality appears to have
been designed and begun by Giulio Romano, and
finished by Francesco Mosca, and thus by two
hands, but, nevertheless, is well composed and
harmonious, and although it has been much injured,
it merits consideration and praise." The other
picture was the altar-piece of the oratory of the
monastery pf San Marco. The subject was similar,
but Cadioli does not say if the composition was
the same. Possibly it was a repetition entirely by
Mosca of the other picture. Into one he intro-
duced his own portrait, and placed a ily upon the
hand. One of these pictures is now in the Academy
of Mantua, and is quite Raphaellesque in character.
As Giulio Romano died in 1546, Mosca painted in
the latter half of the 16th century. He must not
be confounded with any of the sculptors of the
same name.
MOSER, Geoeg Michael, was born at Schaff-
hausen in 1704 or 1707, and first studied at Geneva.
He came to England very young, to follow the
profession of a chaser in gold. He likewise painted
in enamel with considerable success, executing
among other works the portraits of the two eldest
sons of King George III. for the decoration of His
Majesty's watch. He took an active part in the
foundation of the Royal Academy in 1768, and
became its first keeper, whose duty principally
consists in superintending and instructing the
students, who draw and model from the antique.
Moser continued to fill that place till his death,
which happened in 1783. He had previously been
manager of the St. Martin's Lane Academy, and a
member of the Incorporated Society of Artists.
As a medallist, he designed the king's great seal.
MOSER, Lucas. An altar-piece in the church at
Tiefenbronn in Swabia is signed with this name.
It represents scenes from the lives of the Magda-
len, Martha, and Lazarus, and also the parable
of the Wise and Foolish Virgins. It is executed
with much care, and displays an unusual amount
of expression in the faces for the period at which
it was executed — -1431. The colouring is tender,
and the modelling of the hands and feet skilful.
The signature runs : " Lucas Moser, Maler, von
Wil. maister des werk." For Wil. some read
Weil, a neighbouring place.
MOSER, Mary, afterwards Mrs. Lloyd, an Eng-
lish flower painter, the only child of G. M. Moser,
E.A. She was awarded premiums by the Society
of Arts in 1758 and 1759, and was an exhibitor at
Spring Gardens. Elected a foundation member ot
the Royal Academy, she exhibited there from 1768
to 1802. Royal patronage was accorded her, and
she decorated a room at Frogmore. She is credited
with a strong liking for Fuseli, but between 1792
and 1798 she married a Captain Hugh Lloyd.
After marriage she retired from the profession, and
painted only as an amateur. She died in 1819.
In the South Kensington Museum there is a ' Vase
of Flowers ' by her.
MOSES, called 'Little Moses.' See Uijten-
BROUCK.
MOSTN. See Mouzijn.
MOSLEY, Charles, was an English engraver,
who resided in London in the middle of the 18th
century, and was chiefly employed by the book-
sellers. He assisted Hogarth in engraving ' The
Gate of Calais,' and in 1746 he produced some
political caricatures from his own design. His
death occurred about 1770. His best prints are
179
Mosnier
A BIOGRAPHICAL DICTIONARY OF
Uotta
his portraits, of which the following are the most
worthy of notice :
Charles I. on horseback ; from the picture by Van Syck
at Windsor.
Marshal Belleisle on horseback.
MOSNIER, Jean, was born at Blois in 1600.
His father and his grandfather were painters on
glass, and from the former he received his early
lessons. When only sixteen or seventeen years of
age he made a copy of Andrea Solario's ' Vierge a
I'oreiller vert ' for Qaeen Marie de Medicis, then
exiled at Blois ; the copy still exists in the posses-
sion of M. Chambert, President of the Tribunal de
Commerce of Blois. On the strength of this work
the queen sent hira. to Italy with a pension and a
recommendation to the Archbishop of Pisa, in
■whose suite he went to Florence. At Florence he
studied three years, at Rome five ; in the latter
city gaining the friendship of Poussin. On his
return to France he executed a number of decora-
tive paintings for Queeti Marie de Medicis, in the
Luxembourg Palace ; thirteen of these are men-
tioned in Bailly's inventory of 1709-10, but none
are now known to exist. For Lienor d'Etampes,
Bishop of Ohartres, he painted the vaulted roof of
his library with the four (Ecumenical Councils;
a life of the Virgin in the chapel, and the his-
tory of Theagenes and Chariclea in the apart-
ments. He executed several works at Chinon,
Saumur, Tours, Nogent-le-Rotrou, in the chateaux
de Valenyay and de Chevernay, and in the churches
of Blois. He died, according to Felibien, at Blois
in 1656. He had two sons, the eldest of whom,
Michel, was a sculptor.
MOSNIER, Jean Laurent, a French portrait
painter, born in Paris in 1746. He was elected a
member of the French Academy in 1786, and was
received in 1788. On the Revolution he fled to
England, and, settling in London, obtained a good
practice. He exhibited at the Royal Academy
from 1792 to 1795. There is a portrait of La-
gren^e (senior) by him at the Ecole des Beaux Arts,
Paris.
MOSNIER, PiEBBE, (or Monniek, as he himself
wrote his name,) was born at Blois in 1639, and
was the second son of Jean Mosnier. He early
entered Bourdon's studio in Paris, and assisted his
master in painting the gallery of the H6tel de
Bretonvilliers in 1664. In the same year he gained
a prize with his picture of ' The Winning of the
Golden Fleece by Jason,' and was one of the first
pensioned scholars whom Errard took with him to
the newly-founded school at Rome. In Rome he
copied in oil the works of Raphael and the Carracci,
and made studies from antique sculpture, which
were afterwards exhibited in the school of the
Paris Academy in 1670. He was made an
academician in 1674, and became assistant prof ess-
or in 1676, and professor in 1686. His discourses
at the Academy he published in Paris in 1698,
under the title of ' Histoire des Arts qui ont rap-
port au dessin, divisde en trois livres,' etc. He
exhibited at the Salon of 1699. For the church of
Notre Dame de Paris he executed a picture of the
' Parliament sitting in Judgment ; ' for the church
of St. Sulpice a ' Virgin adored by Angels.' He
died in 1703.
MOSS, William, was a student of the Royal
Academy soon after its foundation. In 1778 he
received the gold medal for a design for a church,
and four years later attracted notice by one for a
cathedral. But he was also a painter, exhibiting
180
several landscapes, and an etcher. Two views of
Somerset House and the Thames by hira were
aquatinted by F. Jukes.
MOSSCHER, Jacques de, pupil of Karl van
Mander, entered the Haarlem Guild in 1593.
MOSSMER, Joseph, (Mosmeb, or Mesmee,)
painter and engraver, was born at Vienna in 1780.
He studied under Molitor, and became in 1815
professor and councillor at the Academy of his
native city. He was a landscape painter in oil and
water-colour ; the Belvedere contains a mountain
view by him. He engraved a landscape after
Molitor. His death occurred at Vienna in 1846.
Raimund Mossmeb, his son, born in 1813, was also
a landscape painter. He died in 1874.
MOSTAERT, Feans, born at Halst, near Ant-
werp, about the year 1525, was a painter and
etcher, and was instructed by Herri de Bles. In
1653 he was received a member of the Guild at
Antwerp, and died in 1655. In his latter works
the figures in his landscapes were painted by other
artists. He engraved the plate, 'The Virgin on
the Clouds,' after A. Carracci. Among his paintings
may be mentioned :
A Eocky Landscape, with a Town on a River. (At
Vienna.)
A Landscape by Moonlight, with Water and Fishermen.
Twelve Landscapes in the Netherlands. (JEngraved iy
Jul. Goltzius.)
MOSTAERT, Gillis, born in 1525, was a twin
brother of Frans Mostaert. He was instructed in
painting by Jan Mandyn, and became a member of
the Guild at Antwerp in 1553. He died in 1598
or 1601. There remain by him :
Antwerp. Museum. Christ on the Cross.
Copenhagen. Eoi/.GaW. The same.
Gotha. Ducal Coll. The Creation of Eve.
MOSTAERT Jan, (or Mostbbt,) was born at
Haarlem in 1474. He was a disciple of Jacob van
Haarlem, under whom he became a painter of his-
tory and portraits, producing works which remind
one of Horebouts. His talents recommended him
to the patronage of Margaret, sister to Philip I. of
Spain, in whose service he remained till his death.
He was not less successful in portraits than in his-
torical subjects, and painted that of his patroness,
and the principal personages of his time. He also
excelled in his landscape backgrounds. Unfor-
tunately a large number of his works perished in
the great fire at Haarlem in 1571. He died in that
city in 1555. Of his remaining paintings there
are :
Antwerp. Museum. A Virgin with the Child.
„ „ Two portraits.
Bruges. 'Notre-'Datne. Mater Dolorosa {one of his best
productions).
Brussels, Museum. Two Scenes in the Life of St
Benedict.
Dresden. Gallery. A Magdalene.
London. JVai. Gail. A Virgin with the Child.
Liibeck. Marienkirche, The Adoration of the Magi, with
the Nativity, the Flight to
Egypt, and Adam and Eve.
Petersburg. Hermitage. The Marriage of St. Catharine. •
MOTTA, Raffaello, called Rafaellino di
Reggio, painter, was born at Reggio in 1650. He
was a pupil of Lelio Ozza de Novell ara and of
Frederigo Zuccari, but followed chiefly his own
style. The subjects from the history of Hercules
and the New 'Testament painted in the Vatican
were executed with great skill, and the Cardinal
Motti
PAINTERS AND ENGRAVERS.
Moya
Farnese invited him to paint his villa of Caprarola
in conjunction with Zuooari and Giovanni de
Vecchi ; but the subsequent ill-treatment of the
Cardinal caused by the jealousy of Vecchi, coupled
with Roman fever, caused the artist's death at the
early age of twenty-eight. He died at Rome in
1578. Bonifacei Fantini published in 1667, at
Reggio, a ' Life of Mottai!-*- Many of his pictures
have been engraved.
MOTTI. See De' Motti.
MOUCHERON, Feederik, (or De Motoheron,)
was born at Embden in 1663. At an early age he
showed a strong inclination for art, in consequence
of which he was placed as a pupil with Jan Asse-
lyn. When he was little more than twenty years
of age, he found himself able, on the produce of
his talents, to undertake a journey to France,
where he passed some years, and met with the
most flattering encouragement. It was his inten-
tion to have visited Italy, by the advice of his
instructor, who had studied at Rome ; but his
works were so much admired at Paris that he
abandoned his project. After a residence of several
years in that capital he returned to Antwerp, and
afterwards settled at Amsterdam, where his pictures
were held in equal estimation. He had now the
advantage of having his pictures embellished with
figures by A. Vandevelde and Lingelbach ; and
his best productions are those which he painted in
the latter part of his life. The year of his death is
not known, but there is a picture by him at Dresden
with the date 1713 upon it. His pictures are not
rare. Good examples are to be met with in most
large galleries. Among the more accessible we
may name :
Dublin. Nat. Gall. Landscape with eheep.
„ „ Landscape with muleteers.
Glasgow. Gallery. Landscape with round tower.
„ „ Landscape with hawking party.
London. Nat. Gall. Garden scene with figures.
" Musf^f^ZX'^'"'' la^^dscapes, with figures by
SeifZ).i A- Vandevelde.
MOUCHERON, Isaac, called Oedonnancb on
accomit of his cleverness in composition, the son
and scholar of Frederik Moucheron, was born at
Antwerp in 1670. When only sixteen years of
age he lost his father, but he was already suffi-
ciently advanced to be able to dispense with any
other assistance than that of study from nature.
In 1694 he visited Rome, and its environs became
the object of his study, particularly the vicinity of
Tivoli, of which he made a number of designs ;
and after a residence of four years in Italy re-
turned to Holland, with a rich assemblage of
drawings. On his return to Amsterdam he was
chiefly employed in painting large landscapes for
the ornaments of saloons, in which the figures
were generally introduced by Nicolas Verkolee,
Jakob de Wit, and others. In the scenery, as well
as the style of his landscapes, he appears to have
emulated the manner of Gaspard Poussin. His
pictures are to be met with at Augsburg, Cassel,
Christiania, Copenhagen, and Dresden (eight). He
signed his works either with his full name or with
M.f. He died at Amsterdam in 1744.
Isaac Moucheron etched many plates, among
them a set of nineteen views of Heemstede, in
the province of Utrecht, from his own designs.
We have also the following, by him :
A set of four Views of Gardens, with Buildings and
Figures, inscribed J. Moucheron inv.pinx. a fee.
Another set of four Views of Gardens and Buildings,
inscribed J. Moucheron inv. etfec.
Tenlandscapes, with Figures; after Gaspard Pmssin;
inscribed Emige Zandschapen, gescheldert door O
■Poussm, ^c.
MOUCHET, Francois Nicolas, a French painter,
was born at Gray, in Franche-Comt^, in 1750. He
was a pupil of Greuze, and devoted himself chiefly
to miniature painting. He died in 1814.
MOUCHY, Martin de, a French engraver, was
born in Paris in 1746. He was a pupil of Augus-
tin de St. Aubine, and engraved several plates for
the booksellers ; among which are sixteen prints
for the ' History of Telemachus,' after the designs
of Monnet and Cochin. We have also the following
by him :
A pair of Views in the environs of Triel ; after Hackert.
A View of Marienberg, near Stockholm ; after the same.
Another View in Sweden ; after the same.
MOUNT, Shepard Alonzo, painter, born in 1804
at Setanket, Long Island. Member of the National
Academy of Design, New York, in 1842. Died in
1868. His best pictures are a portrait of Admiral
Bailey, U. S. N., and a portrait of himself, now in
the possession of the National Academy.
MOUNT, William Sidney, painter, brother of
the above, was born at Setanket, Long Island, in
1806. At the age of seventeen he was apprenticed
to his brother, a sign-painter in New York. In
1826 he went to the school of the Academy of
Design, and in 1820 produced his first picture, a
portrait of himself. In 1829 he established him-
self in New York as a portrait painter, and painted
several humorous scenes and scenes of negro life.
In 1832 he was elected a member of the National
Academy. His ' Bargaining for a Horse ' is in the
possession of the New York Historical Societj'.
He died at Setanket in 1868.
MOUZIJN, Michael, (or Mosin,) a Dutch en-
graver, was born at Amsterdam about the year
1630. He endeavoured to unite the point with the
graver in the execution of his plates, but with no
great success. We have, among others, the fol-
lowing prints by him :
portraits.
Jacob van Wassenaer, Admiral of Holland.
Michael Euyter, Dutch Admiral ; after H.vanAldewereld.
Cornells de Witte, Pensionary of Holland ; after the
same.
Jan van Galen, Admiral of Holland ; after J. Lievens.
SUBJECTS.
Venus sleeping ; after J. At Backer.
The Four Elements under the empire of Venus ; after
C. Holsteyn.
A Satyr presenting a Bunch of Grapes to a Woman and
Child ; after the same.
MOYA, Pedro de, a Spanish painter, was born
at Granada in 1610. He was for some time a dis-
ciple of Juan del Castillo at Seville. A desire to
see the works of Rubens and other distinguished
painters of the Flemish school induced him to
enlist as a foot-soldier in the army of Flanders and
visit Antwerp, where he was particularly captivated
with the works of Van Dyck, who was at that time
in England. He resolved on visiting London, for
the purpose of becoming his pupil, but his inten-
tions were frustrated by the death of Van Dyck
within six months after Moya arrived in England.
He returned to Spain, where Murillo, who was
then about twenty-four, profited by his experience
and advice. He ultimately settled at Granada,
181
Moyreau
A BIOGRAPHICAL DICTIONARY OP
Mulder
where he painted several pictures for the churches,
of which tlie most esteemed is an altar-piece of
the ' Conception,' in the church of Nuestra Senora
de Gracia. He died at Granada in 1666. Other
paintings by him are ;
Granada. Cathedral. Madonna and Child; also a
Bishop.
„ Trinity Conv. Legend.s of St. John de Mata.
„ S. Anustino. St. Alypius adoring the Virgin.
Madrid. ' Museo. The History of Joseph (in six
pictures).
Pesth. GalUry. His own portrait.
Vienna. Czernin Coll. A male portrait.
MOYREAU, Jean, a French engraver, was born
at Orleans in 1690. He studied painting under
Boullongne, but soon devoted his time to engraving.
He came to Paris, and in 1738 was admitted into
L'Academie Royale, with the uncommon distinc-
tion that he was not required to engrave a portrait
according to the rules. His principal works are
his plates after Philips Wouwerman, consisting of
eighty-nine prints. He engraved various prints
after other masters, among which are the following :
Eebecca receiving the Servant of Abraham ; after Paolo
Veronese ; for the * Crozat Gallery.'
The Kesurrection of Lazarus ; after Bon de Boullongne.
The Parting of Hector and Andromache ; after the same.
Bacchus and Ariadne ; tfter the same.
A Halt of Hunters ; after Van Valens.
A Hunting Rendezvous ; after the same.
(The last two plates were engraved for his reception
into the Academy in 1736, and are among his best
prints.)
A Sea-port ; after Claude.
TiSl Partie Garree ; after Watteau.
A "Waterfall ; after the same.
Of his best prints after Wouwerman may be men-
tioned those entitled :
Le Golombier du Mar^cbal.
La grande Chasse a I'oiseau.
La Fontaine du Dauphin.
La Fontaine de Neptune.
There was another French engraver, J. A. M. or
M. A. M. Moyreau, who engraved some plates
between 1761 and 1770. It is supposed he was a
son of Jean Moyreau.
MOZART, Anton, was a landscape painter who
worked from about 1595 to 1624 at Augsburg.
There remain of his works :
Augsburg. Gallery. The Miracle of the Loaves. 1624.
Berlin. Roy. Coll. Four landscapes on copper — the
Four Elements (in the style of
Jan Brueghel and D. Vinclse-
booms). 1606.
MOZIN, Charles Louis, was born in Paris in
1806, and studied under Xavior Leprince. He
was a successful painter of sea-pieces, towns, and
genre subjects. He died in 1862. There are by him :
The Entrance to the Harbour of F6camp.
A View of Utrecht.
Coast Scene in Normandy.
MUCCI, Giovanni Feancesco, a nephew and
pupil of Guercino. He is said to have engraved
some plates.
MUCCIOLI, Baktolommeo and Benedetto,
father and son, who were painting at Urbino to-
wards the end of the 15th century. They were
apparently natives of Ferrara. A picture signed
' lienedictus quondam Bartolommi de Fer. Pictor,
1492,' is described by Lanzi as being " in the chapel
182
of the Muccioli, their descendants," in S. Domenico,
at Urbino.
MUCKE, Heinrich Kabl Anton, painter, de-
signer, and etcher, was born at Breslau, April 9th,
1806. In 1824 he was a student at the Berlin
Academy, and in 1826 a scholar under W. Schadow,
at Diisseldorf. While still very young he painted
a series of frescoes in the Scbloss Heltorf, near
Diisseldorf, which dealt with the career of the
Emperor Barbarossa. In 1833-4 he travelled in
Italy and Sicily, and in 1850 he paid a visit to
England. In 1844 he became Professor of Anatomy
in the Diisseldorf Academy. He painted numerous
altar-pieces and historical pictures, and was also
active as an illustrator and etcher. Among his
better works we may name the following :
The Apotheosis of St. Catherine. {Nat. Gal. Berlin.)
The Repulse of Theodosius by Saint Ambrose.
Saint Elizabeth as the Almsgiver.
Dante reading the ' Divine Comedy.'
The Eesurreetion of Christ.
Frescoes in the Andreaskirche, Diisseldorf.
The Storming of Jerusalem by Godfrey de Bouillon.
The Introduction of Christianity into Wupperthal.
{Prieze in the Rathhaus, Elherfeld.)
Coronation of the Virgin. (Frauenwaldmi.)
Christ on the Cross. (Marienbad.)
The Good Shepherd. {Kaiserswerth.)
Cleopatra.
Frescoes for Pr. Anton of Hohenzollem-Sigmaringen.
MUDO, El. See Navabrete.
MUELENBRB, Govaekt de. A painter of this
name was at work at Tournai about 1460, in com-
pany with Jacob Daret.
MUGELLO, Del. See Fiesole, Bened. da.
MUHLIG, Meno, a German painter, was born at
Eibenstock, April 8, 1823. He was a pupil, at
Dresden, of Julius Hiibner. He painted scenes
chiefly from German history in the 17th century.
In the Dresden Gallery there is a picture by him of
' Monks returning from a pilgrimage attacked in the
snow by robber knights.' Muhlig died June 8, 1873.
MUHR,- JuLicjs, born at Pless, Silesia, in 1819,
studied first at the Academy of Berlin, in 1838 at
that of Munich under Cornelius, and worked at the
Berlin wall-paintings under Kaulbach from 1847
to 1853. He went to Rome in 1852, and painted
for the prelate Lichnowsky a ' Mass in the Sixtine
Chapel.' Subsequently he spent almost every
winter at Rome. until 1858, returning periodically
to Berlin ; but finally he settled at Munich, where
he died in 1865. He painted portraits of Overbeok,
Schlick, Lichnowsky, Ludwig II. of Bavaria, &c.
We may also name :
A Siesta of Monks.
A Monk playing.
A Gipsy Family.
A Struggle with Gipsies.
Job's Friends. 1861.
Pifferari.
MUIJLTJES, Aeyaen, an obscure painter of
Haarlem, who entered the Guild in 1640, and died
in 1649.
MULARD, FEANgois Henri, a mediocre painter
of the French school, who wor'-ed in the style of
David. At Versailles there is ' Francis I. on the
eve of the Battle of Marignano,' by him.
MULDER, Joseph, an engraver at Amsterdam,
who was a pupil of Hendrik Bogaart. His plates
are dated from 1694 to 1737. Among them are :
The title-page to the ' Pictura Veterum ' of F. Junius ;
after A. -van der TVerf. Rotterdam. 1694.
One in G. de Lairesse's Drawing-Book.
llulich.
PA INTERS AND ENGRAVERS.
Miiller
Views of Gunterstein. " J. Mulder ad vivum del. et
fecit."
The portraits of Galileo, Johannes Secundus, &c.
MULICH, Hans, miscalled Mielich, was born
at Muiiich in 1515. He was a portrait painter of
merit, and also painted history in the manner of
the Bolognese. His portraits are rare ; the Munich
Gallery has two, one dated 1540; and they are
occasionally seen in the private collections of
Germany. Miilich also painted miniatures witli
some skill. He held for a time the post of court
painter to Duke Albert V. of Bavaria. He died in
1572 in his native city. Among his remaining
works we find :
Ingolstadt. Frauen- \ The Altar-piece, representing
kircAe. / Scenes in the Life of Jesus and
Mary.
Munich. Frauenkirche. A Copy of Michelangelo's ' Last
Judgment.'
J, „ The Passion.
„ Old Pinalcothek. Portraits of a Man and a Woman.
„ State Library. The Treasures of Albrecht V , in
miniature.
,_ „ Orlando di Lasso's septem Psalmi
poenitentiales, in miniatures.
^, „ The Motets of the musician Cip-
rian de Rore, in miniature.
Eatishon. Serr Kran- \ The Portrait of a Woman with
ner's. J her little Daughter.
Vienna. Portrait of a Man of Hermann
family.
In conjunction with Christoph Zwikopf he pub-
lished a very large woodcut in five plates, treating
of events near Ingolstadt in the time of the
Schmalkaldische-Bund.
MULIER, or Db Mulieeibus. See Molyn.
MULINARI, Giovanni Antonio, called II Cak-
KACOINO, was born at Savigliano, Piedmont, in
1577. His best paintings are at his native place,
but there is also one at Turin, in San Dalmasio,
representing the ' Deposition from the Cross.'
Though called ' II Carraccino,' his style bore no
relationship to that of the Carracci. He died in
1640.
MULINARI, MiCHELB de, a native of Milan, who
flourished in the 14th and 15th centuries. He
studied at Florence under Agnolo Gaddi, and be-
came director of the Academy at Milan in 1366.
MULINARI, Stefano, (or Molinaei,) was an
Italian engraver, known for his numerous' prints
after drawings by the early Italian masters. He
was bom at Florence about 1741, and was a pupil
of A. Scacciati, whom he assisted in a series of
engravings after the most beautiful drawings in
the Florentine Collection. Foity-one only were
executed during Scacciati's life ; the remaining
fifty-nine were engraved entirely by Mulinari.
These were succeeded in 1775 by a series of fifty
prints after drawings of the earliest masters, from
Cimabue to Pietro Perugino, under the title ' Istoria
pratioa dell' Incominciapiento e Progress! della
Pittura.' This was followed in 1780 by a, still
more interesting work on the great Italian schools
of painting up to Francesco Rustici, ' Saggio delle
cinque Scuole di Pittura Italiana.' Mulinari died
near the close of the 18th century, aged about fifty-
five. Among the above-mentioned works are four
after Leonardo da Vinci, five after Michelangelo,
twenty-two after Raphael, eight after Giulio
Romano, six after Polidoro da Caravaggio, twenty-
six after Parmigiano, five after Daniele da Volterra,
eight after Barocci, seven after Giulio Cesare Pro-
caccini, three after Guido, three after Andrea
Saochi, thirteen after Guercino, and many others.
Nagler gives a list of about 200 of them in his
' Kiinstler-Lexicon.'
MULLENER, Johann Karl, called Mullee,
was a Swiss painter of landscapes, born at Gesse-
nay, in the canton of. Berne, in 1768. He was his
own instructor, but went early to Italy, and after
having stayed some time with Angiolini at Serra-
vezza, he established himself at Florence, where
he died in 1832. His landscapes, mostly Italian
scenes, are picturesque and lively.
MULLER, Achilles, a painter chiefly on glass,
who was employed by the King of Poland and by
the Elector of Bavaria between 1580 and 1616.
He was a native of Munich.
MULLER, Adam August, painter and etcher,
was born at Copenhagen in 1811. He was first
instructed by Eokersberg, and studied for a time
at the Academy of his native city, till he afterwards
visited Italy, where he stayed from 1839 to 1841.
He first painted genre and history, but afterwards
scenes from the Bible and portraits. He died at
Copenhagen in 1844. There are by him :
Copenhagen. Thorwald- \ Christ with the Four Evangel-
sett Museum. ) ists.
„ Ch. of the Holy 1 j^^j^jjg^ ^f. ^.jjg ]3jgt j,f ^orms.
Spirit. j
„ iJoy. Coll. The Prodigal Son.
He etched several plates, among which may be
mentioned :
A Man's Head.
Two Angels hovering.
MULLER, Balthasab, a painter, who in 1522-4
assisted Hans von Kalba in painting and gilding
the reliefs in the church at Annaberg. ■
MULLER, Dr. Feanz Hubert, painter, engraver,
and writer on art, was born at Bonn in 1784. He first
studied jurisprudence, but devoted himself after-
wards to painting and engraving. After having
been several times at Frankfort, AschafEenburg,
Eisenach, and Cassel, he became court painter to
the Prince of Waldeck in 1807, and did much good
work for him. Subsequently he visited Hamburg,
Moscow, and St. Petersburg, and then settled at
Frankfort. In 1817 he became inspector of the
Gallery at Darmstadt. He painted portraits and
history, and for his work in St. Catherine's Church
at Oppenheim he obtained the title of doctor.
He died in 1835.
MULLER, Feiedkich, called 'Painter Miiller'
and 'Devil's Miiller' (from his having painted
demoniacal scenes in the latter period of his life),
was born at Kreuznach in 1760. He was in-*
structed in art at Mannheim, after which he be-
came court painter and etcher at Zweibriicken, and
in 1778 went to Rome, where he imitated the style
of Michelangelo, and died in 1825. He was
also a poet and an art critic. Two of his best
paintings are, 'Cupid with Doves,' and ' Ulysses
calling up the Shade of Ajax.' Of his etchings
may be named :
Three Jews.
Niobe with Two Children.
Three Sheep's Heads.
MULLER, Feiedeich, a painter, was born at
Kirchditmold, near Cassel, in 1801. His works
are more concerned with colour than was usual in
his time in Germany. He was a professor in the
Cassel Academy. He retired into private life in
1875.
MULLER, Feiedeich, a painter, was born at
Cassel in 1811. He lived much in Italy, but his
183
MuUer
A BIOGRAPHICAL DICTIONARY OF
MuUer
sojourn tliere did not have the effect upon his style
that might have been expected. His best picture
is a ' Wooded landscape with Knights at a meal.'
He died in Munich, May 30, 1859.
MULLER, G. A., was born at Vienna about the
year 1700. He was a contemporary of Andreas
and Joseph Schmutzer, and in conjunction with
them executed a part of the plates to the ' Life of
Decius,' from the designs by Eubens,in the posses-
sion of the Prince of Liechtenstein. We have also
the following portraits by him :
Prince Ludwig, Count von Sintzendorf, Minister of
State.
Jacob van Schuppen, Director of the Academy at
Vienna.
The two Ohildren of Kubens ; from the picture by that
master in the Liechtenstein Collection.
The date of his death is not known, but it occurred
after 1762.
MULLER, Heineich Kael, bom at Strasburg in
1784, was an engraver, and instructed by Ch.
Gu6rin. His best plate is ' Psyche,' after Prud'hon.
He obtained several medals, was a member of the
Academy at Berlin, and a Knight of the Legion of
Honour. He died in Paris in 1846.
MULLER, Hermann, is said by Huber to have
been a native of Amsterdam, though he resided
the greater part of his life at Antwerp, where he
engraved several plates, in conjunction with Cor-
nells Cort, for Jerome Cook. He flourished about
the year 1585, and is supposed to have been a dis-
ciple of the two artists named, and to have studied
afterwards in Italy. The plates of Hermann
Mijller are executed entirely with the graver, in
the laboured, formal style which distinguished the
Flemish school at that period. In conjunction
with the Galles, the Sadelers, and others, he en-
graved several subjects from the Bible, after Van
der Straet, Martin de Vos, and other masters. We
have also the following by him :
The Fates ; after Cornelis van Haarlem.
The Death of Cleopatra ; aftet^ the same.
The Four Cardinal "Virtues ; after Martin Heemskerk.
The Ten Commandments ; after the same.
A set of seven plates of the Creation ; after B. Goltzius.
The Death of Lucretia ; after Cornelis Ketel.
MULLER, Hermann Martin Cheistoffer,
painter, was born at Hamburg, in 1806. He was
a pupil of Siegfried Bendixen, but in 1828 was
a student in the Munich Academy. The subjects
of his pictures were mostly taken from the
Nibelungenlied. He died at Munich in 1837.
MULLER, Jacob, is the name afBxed to the
"frontispiece and plans in a book on Gardening,
from the designs of Georg Hatzel, published at
Augsburg by Jeremiah Wolf. The same engraver
produced some landscapes in the style of Perelle.
MULLER, Jan, an engraver, is supposed to
have been of the same family with Hermann Miiller.
He was born at Amsterdam about the year 1570,
and was a disciple of Hendrik Goltzius, whose style
he followed with enthusiasm. His last works are
dated 1625. He engraved several portraits, which
are highly esteemed. The following are among
his most admired works :
poetbaits.
Bartholomaus Spranger, Painter ; ./. ab Ach pznx.
Maurice, Prince of Orange ; after Mierevelt.
Jan Neyen, of Antwerp, his hand resting on a skull ;
aftei' the same.
Ambrose Spinola ; after the same.
Albert, Archduke of Austria ; after Mubcns.
184
Isabella, Infanta of Spain ; after the same.
Christian IV. King of Denmark ; after P. Isaacsz.
SUBJECTS FEOM HIS OWN COMPOSITIONS.
The Baptism of Christ.
An Ecce Homo, with angels.
Belshazzar'e feast ; fine and rare.
The Adoration of the Magi; fine and rare.
SUBJECTS AFTER BAETHOLOMXUS SPEANGER.
Hagar in the Desert, comforted by an Angel.
Lot and his Daughters.
The Nativity ; J. Miiller sad. 1606.
The Holy Family, with two Angels.
Venus and the Graces.
Venus, Bacchus, and Ceres.
A Satyr taking a Thorn from the Foot of a Faun.
Venus and Mercury.
Perseus armed by Minerva and Mercury ; one of his
finest plates.
Cupid and Psyche.
The Apotheosis of the Arts.
Fortune distributing her Gifts.
SUBJECTS AFTEE VARIOUS MASTERS.
The Raising of Lazarus ; after Ah. BloewMert.
Cain slaying Abel ; after Cornells van Haarlem.
The Eape of the Sabines ; after the sculpture of A. de
Vries.
Mercury and Pandora ; after the same.
Thg Martyrdom of St. Sebastian ; after J. van Aachen ;
flue.
MULLER, Johann Baptist, born at Geratsried
in Bavaria, in 1809, was a painter of history, and
attended the Academy at Munich, where he studied
under Konrad Eberhard and H. Hess. He assisted
the latter of these in his frescoes in All Saints'
Chapel, and in the decoration of the Basilica ; and
with Fiihrich he in 1837 executed the works on the
Laurentiusberg at Prague. From 1842 to 1849 he
was occupied with glass-painting. His altar-pieces
and easel-pictures are to he met with at Obertin-
gen, Erkheim, Scheideck, and Kosching near Ingol-
stadt. His best picture is ' St. Jerome on the Ruins
of Jerusalem. ' He died at Munich in 1869. Many
of his works have been lithographed and printed
in colours.
MULLER, Johann Christian Ernst, engraver,
was born at Troistedt, in the Grand Duchy of
Weimar. He studied under Lips, at Zurich, and .
in 1820 became professor in the drawing school at
Weimar. He died in 1824. Works :
Profile portrait of Bonaparte as First Consul.
Portrait of the Grand Duke of "Weimar.
Portrait of the Emperor Alexander I. of Kussia.
M'ULLER, Johann Friedeich Wilhelm, son of
Johann Gotthard von Miiller, was born at Stutt-
gart in 1782. He was carefully educated by his
father in all the branches of art essential to con-
stitute an excellent engraver ; and in 1802 he mi-
grated to Paris to complete his studies. In 1805
Miiller engraved the Crown Prince of Wiirtem-
herg's portrait, and ' St. John about to write his
Revelation,' after Domenichino, in which the eagle
brings him his pen ; and ' Adam and Eve under
Temptation,' after Raphael. In 1809 he went
to Italy, and on his return became engraver to the
court at Stuttgart, and in 1814 professor of engrav-
ing at Dresden. There he was commissioned by
Rittner, a printseller, to engrave his last and
greatest plate, the Madonna di San Sisto of Raphael
in the Dresden Gallery. He was occupied for the
remainder of his life on this plate, which he just
lived to complete) but he never saw a finished
Uiiller
PAINTERS AND ENGRAVERS.
Miiller
print from it. His existence seems to have been
almost wrapped up in its execution ; he was oc-
cupied with it day and night ; and being of a
sickly constitution, the infallible result of such
constant application and excitement soon made its
appearance. He completed the plate and sent it
to Paris to be printed ; but with it the artificial
excitement which supported him departed also:
he had just strength enough left to admit of his
being carried to the Sonnenstein, near Pima, where
he died May 3, 1816, only a few days before the
proof of his plate arrived from Paris. It was sus-
pended over the head of his bier as he lay dead.
This plate was retouched in 1827. J. F. Miiller
engraved only eighteen plates, but the Madonna di
San Sisto is in itself a host ; his other works are
nearly all portraits.
MULLER, JoHANN GoTTHAED VON, a German
engraver, was born at Bernhausen, in the duchy of
Wurtemberg, in 1747. He was favoured with the
protection of the Duke Karl Eugen, by whose aid
he for six years studied painting and design, and
was sent to Paris in 1770, where he became a pupil
of J. G. Wille, and began to engrave. His talents
procured him his reception into the Academy in
Paris in 1776. He soon afterwards returned to
Stuttgart, where, by order of the duke, he founded
an Academy of Design, of which he was a pro-
fessor during 1776-94, and subsequently director.
He was awarded the Wiirtemberg Order of the
Crown in 1818, and was a member of the Acade-
mies of Berlin, Copenhagen, Munich, and Vienna.
He died at Stuttgart in 1830. His engraving of
the ' Madonna della Seggiola, executed in 1804 for
the Mus^e Frangais, is considered by many persons
superior to that of Raphael Morghen of the same
subject. We have by him several plates, engraved
in the style of his instructor, among which are the
following ;
POETKAITS.
Louis XVI. full-length; after Duplessis; one of his
finest plates.
Jean George 'Wille, Engraver ; after Greuie.
Louis Galloche, Painter ; engraved tor his reception into
the Academy.
Louis Lerambert, Sculptor to the King of "Wiirtemberg.
Augustus Gottlieb Spanganberg ; A. Graff pinx.
F. Schiller ; after the same.
SUBJECTS.
Oeres ; after Golizius.
The Nymph Brigone ; after Jollain.
A Lady playing on the Guitar ; after P. A. Wille.
Lot and his Daughters ; after Gerard Honthorst.
A subject from the Lite of Alexander ; after G. Flinch.
The Battle of Bunker's Hill; after John Trumbull.
J799;
La Madonna della Seggiola ; after Baphael.
St. Cecilia ; after Domerdchino.
St. Catharine, with two Angels; after Leonardo da
Vinci.
The Virgin ; after Spada.
The tender Mother ; after Tisehbein.
MULLER, JoHANN Jakob, called 'Miiller of
Riga,' was born at Riga in 1765. He was first a
preacher, but afterwards studied painting at
Dresden under Klengel and at Rome, and particu-
larly the manner in which Claude Lorraine treated
distances in his works. After having in 1817
visited Italy for a second time, he settled at Stutt-
firt, where he became court painter to King
riedrioh, and died in 1831. There are by him
several views of Pompeii (two of them in posses-
sion of the King of Bavaria), and a ' Landscape near
Salerno,' in the Gallery at Stuttgart.
MIJlLER, Joh. Karl. See Mdllener.
MiJLLER, Joh. Pet. See Molitor.
MULLER, JoHANN Sebastian, (or Miller,) a
German engraver, was born at Nuremberg about
the year 1720. He came with his brother to
England in 1744, resided in London in 1760, and
engraved several plates for the collection of Boy-
dell ; he is generally known in this country under
the name of Miller. We have, among others, the
following prints by him :
The Holy Family ; after Federigo Baroccio.
Another Holy Family ; after Murillo.
Nero depositing the Ashes of Britannicus; aftfr Le
A Landscape, with Apollo and Marsyas ; after Claude.
A Moonlight ; after Van der Neer.
Two Views in Eome ; after Giov. Paolo Panini.
The plates tor Newton's Edition of ' Milton ; ' after
Ha^Tnan.
MULLER, John Peter, a Danish landscape
painter, born in 1783. He had a good reputation
in his native country. Many of his subjects are
scenes in Sweden and Norway, and have been
engraved and lithographed. He died in 1854. In
the Royal Gallery at Copenhagen there are two
of his landscapes, a ' View of the Wetterhorn,'
and a 'Forest Road near Elsinore.'
MtJLLER, MoBiTZ. See Steinla.
MULLER, MoRi'J'z Karl Friedrich, called ' Fire
Miiller,' from his occasional fondness for artificial
illuminations, was a painter of portraits, history,
and genre, who was born at Dresden in 1807, and
studied art at the Academy there under Matthai.
In 1829 he went to Zittau, where there are some
of his altar-pieces, and in 1830 to Mimich, where he
died in 1865. He was a member of the Academy
at Dresden. Some of his best paintings are :
The sulky Boy. [Berlin National Gallery.)
Consecration of a Church.
Christmas Eve.
Lovers at the Fireside of a Shepherd's Cottage.
The Tyrolese marching out under Haspinger.
Return Home of a Wounded Soldier in the Tyrol.
[Munich Pinakotheh.)
Country Wedding. (The same.)
The Imprisonment of Andrew Hoter.
Camp Scene.
MULLER, PiETEO. See Molyn.
MULLER, Salomon, was probably of the same
family as Hermann and Jan Miiller, and flour-
ished about the year 1610. From the style of his
engraving, it is probable he was brought up in the
school of the Wierixes. He engraved a set of
small prints of sacred subjects, which, as they are
without the name of the painter, are probably
from his own designs.
MtJLLER, ViCTQR, was born at Frankfort in
1829, and studied at the Stadel Institute in that
city. In 1849 he went to Antwerp, and afterwards
to Paris, where he continued his studies under
Couture. On his return to Frankfort in 1838,
he brought himself into notice by the 'Forest
Nymphs,' ' Diana and Endymion,' and ' Hero and
Leander.' In 1865 he went to Munich, where he
died in 1871 ; there he chiefly painted portraits
and scenes in, the life of Hartmuth of Kronenberg.
Among his other paintings the most important are :
Faust and Wagner.
Hamlet and the Grave-digger.
Ophelia.
Borneo and Juliet.
185
Mftller
A BIOGRAPHICAL DICTIONARY OF
Mulready
MULLER, "William James, an English land-
scape and figure painter, was born at Bristol in
1812 ; his father, of German extraction, was cura-
tor of the Bristol Museum, and from him he ac-
quired a taste for science, especially botany and
natural history. He was at first designed for an
engineer, but his predilection for art soon made
itself manifest. Erom J. B. Pyne he received the
primary instructions in painting ; and in 1833 he
for the first time exhibited at the Royal Academy,
his picture being ' The Destruction of Old London
Bridge — Morning ? ' Soon after he made the tour
of Germany, Switzerland, and Italy, studying from
nature, and hence his works bear the impress of
originality in a greater degree than those of most
modern landscape painters. On his return to his
native city he pursued his profession, but with
very partial success. In 1838 he visited Greece
and Egypt, enriching his portfolio with a large
number of sketches of the most interesting objects.
About the end of 1839 he settled in London, where
his pictures found ready purchasers. Two years
afterwards he published ' Picturesque Sketches of
the Age of Francis I.,' which extended his fame
beyond his own country. He next, in 1841, at his
own expense, joined the expedition to Lyoia, pro-
jected by the government, and from the valuable
sketches he made there, produced the pictures
which were exhibited at the Royal Academy and
British Institution during the last three years of
his life. Of the treatment his work received at
both places he complained with bitterness, and,
it must be admitted, with justice. In 1836-7-8
he also sent pictures to the Suffolk Street Ex-
hibitions. In 1845 Miiller left London for
Bristol for the benefit of his health ; but his
strength gradually failed, and he died on the 8th
September of that year of disease of the heart.
At the sale of his oil pictures, finished and un-
finished, and of the series of sketches made by him
in Lycia (which took place in the following year),
competition to possess them was extreme ; the
sketches sold at prices varying from £20 to £60
for each, and the total amount of the three days'
sale was about £4600. These were not factitious
prices, for the dealers reaped a rich harvest by the
purchases they made at the sale. In 1875 his
Memoir was brought out, by the pen of N. N. Soley,
and his works have greatly increased in value
since. Miiller is very scantily represented in
public collections. In the National Gallery there
are a fine Welsh landscape and a clever Lycian
sketch, both in oil. In the South Kensington
Museum there are eight of his water-colour draw-
ings.
MULLINARI. See Mdlinaei.
MULREADY, "William, the son of a leather-
breeches maker, was born at Ennis, County Clare,
Ireland, on the 1st of April, 1786. "When "William
was about eighteen months old the family removed
to Dublin, and after remaining there about four
years came to London, where they settled near
Leicester Square. After picking up as much of art
as he could gather from old books and prints, and
from an artist named Graham, Mulready was per-
mitted to study in the studio of Banks, the sculptor,
aod in October 1800 he became a student, of the
Royal Academy. Two years later he obtained the
silver palette of the Society of Arts. From the
age of fifteen Mulready was no longer dependent
upon his parents for subsistence. It is not exactly
known how he managed to support himself at first :
186
but, according to Marcliffe, he drew illustrations
for books, and perhaps tried his hand at scene
painting, as he used to say in after-life, " I drew
on a very large scale when I was young." Teach-
ing drawing, which he continued throughout his
life, was also another resource in his early days ;
he became tutor to several persons of note, one of
whom was Miss Isabella Milbanke, afterwards
Lady Byron. In 1803, when scarcely more than
seventeen years of age, he married the elder sister
of John "Varley, the famous water-colour painter,
whose pupil he is generally supposed to have been ;
and before he was nineteen he became a father.
The lady, who was a year older than her husband,
was also an artist, and exhibited several paintings
at the Royal Academy Exhibitions. The union,
however, was a very unhappy one, and occasioned
much of the trouble of the artist's life, for after
they had been married barely six years they separ-
ated, and never afterwards resided together. In
1804, when only eighteen, Mulready exhibited
three pictures at the Royal Academy, two views
of Kirkstall, and a cottage at Knaresborough in
Yorkshire. In 1807 the artist's first figure picture,
' Old Kaspar,' appeared at the Academy, and was
succeeded in the following year by ' The Rattle : '
from the extreme finish of these works, it is evi-
dent that Mulready carefully studied the Dutch
School, and to a great extent imitated it. In 1809,
stimulated no doubt by the success which "Wilkie
had achieved by the production of his 'Blind
Fiddler' and 'Rent-Day,' Mulready executed his
first large work, ' The Carpenter's Shop,' which he
sent to the British Institution to compete for the
prizes offered by that Society, and two years later
painted another picture, ' The Barber's Shop,' in
the same style. In 1815 he was elected an Asso-
ciate of the Royal Academy ; and in the beginning
of the next year, before the Academy Exhibition
was opened, he obtained the full honours of a
member. Thus his name never appeared in the
Catalogue under the lesser title; such a rapid
rise had never before, nor has since, occurred
in the Academy. 'The Fight Interrupted' was
exhibited this year, and fully justified the Aca-
demy's choice. This work, considered to be the
most perfect picture in his first manner, is now
in the Sheepshanks Collection, at the South Ken-
sington Museum. Prom this time Mulready no
longer imitated the Dutch School, or endeavoured
to rival "Wilkie in his style, but grad^ially changed
to a manner peculiar to himself. He produced
between the years 1820 and 1836, some of his
most humorous pictures, chiefly of boy life and
village incidents. It was not, however, until after
1838, when Mulready Was more than fifty years
of age, that he produced those works of fine
colour, and consummate refinement and variety of
execution in which his art culminated : ' The
Sonnet,' ' Train up a Child,' ' The "Whistonian Con-
troversy.' Mulready was ever a faithful member
of the Academy, ever pteferriilg his professioffal
duties to his private and personal interests ; from
the time he first became a student until withili two
days of his death he was a constant attendant at
the Life School, not only as a willing " visitor,"
giving advice to the young students, but also
as a diligent worker, producing there many of
those excellent life-studies for which he was dis-
tinguished. He was one of the founders and most
active members of the Society for the Management
and Distribution of the Artists' Fund, of which he
Multz
PAINTERS AND ENGRAVERS.
Illunoz
held the office of President as early as 1815 ; and
it may be mentioned to his honour that he sur-
rendered the right to engrave and sell prints of
'The Wolf and the Lamb ' to the fund: this act
of charity realized the sum of one thousand pounds.
During his last years Mulready lived a very se-
cluded life at his residence in Linden Grove,
Bays water. On the morning of the 7 th of July,
1863, he died of heart disease, and was buried
in Kensal Green Cemetery. In the following
year there was a loan collection of his works
in the South Kensington Museum. His illustra-
tions to an edition of the 'Vicar of Wakefield,'
published in 1843, were very successful, and led
to his being employed to paint several of the
subjects — e. g. the ' Whistonian Controversy,'
' Choosing the Wedding Grown,' &c. The following
are his principal works :
Hampstead Heath. 1806. {In the South Kensington
Museum.)
Still life. 1809. {The same.)
Fair Time. Eoy. Acad. 1809. {In the National Gallery.)
The Roadside lun. 1811.
The Mall, Kensington Gravel Pits. 1812. {In the South
Kensington Museum.)
Near the Mall, Kensington Gravel Pits. 1813. {The
same.)
Punch. 1813.
Idle Boys. 1815.
A Snow Scene. {In the National Gallery.)
The Fight Intekeupted. Key. Acad. 1816. {In the
South Kensinyton Museum.)
The Gaeeless Messengee. 1821.
The Oonvalescbnt. 1822. {Jones Collection, S. Ken-
sington Museum.)
The Widow. 1824.
The Origin of a Painter. 1826.
The Cousin, 1827.
The Sailing Match. Roy. Acad. 1831. {In the South
Kensington Museum.)
Portrait of John Sheepshanks. 1832. {I%e same.)
The First Voyage. 1833.
The Last In. Roy. Acad. 1835. (in the NMional
Gallery.)
Giving a Bite. Eoy. Acad. 1836. {In the South Ken-
sington Museum.)
The Tot Seller. Eoy. Acad. 1837. {The same.)
Brother and Sister. Eoy. Acad. 1837. (The same.)
The Seven Ages. Eoy. Acad. 1838. [The same.)
The Sonnet (a masterpiece). Eoy. Acad. 1839. {The
same.)
Open toue Modth and Shot tode Eyes. Eoy. Acad.
1839. [Tlie same.)
First.Love. Eoy. Acad. 1840. {The same.)
CeossingtheFobd. Roy. Acad. 1842. {In the National
Gallery.)
Blackheath Park. Eoy. Acad. 1852. {The same.)
The Intercepted BiUet. Eoy. Acad. 1844. {The same.)
The "Whistonian Conteoveest. Eoy. Acad. 1844.
Choosing the "Wedding Gown (a masterpiece). Eoy.
Acad. 1846. {In the South Kensington MuDeum.)
Burehell and Sophia. Eoy. Acad. 1847.
The "Wolf and the Lamb. 1847. {In the Queen's
Collection.)
The Butt (shooting a cherry). Eoy. Acad. 1848. {In
the South Kensington Museum,.)
An Interior with portrait of Mr. Sheepshanks (sketch).
(The same.)
The Young Brother. Eoy. Acad. 1857. {The same.)
Bathers ; an unfinished Cartoon. {Nat. Gfd. of Scotland.)
JMULTZ, Andreas Paul, painter and engraver,
a native of Oberschonfeld, was at Nuremberg from
about 1650 to 1680. We have by him a considerable
number of early portraits in mezzotint; among them:
Eudolphus Buchner.
J. G. Beil.
Stephan Behaim.
Friedrich Behaim.
He generally signed with the full initials A. P.M.
MULVANY, George, son of the above, was born
in Dublin in 1809, and studied in the Academy
there. In 1832 he became an Associate, and suc-
ceeded his father as keeper ; was afterwards director
of the National Gallery in Dublin. He exhibited
at the Royal Academy at London in 1836 and 1839.
He died in Dublin, 6th February, 1869. Among
his works are :
The White Man cast on the Eed Man's shore.
The Peasant's Grave, &c.
MULVANY, Thomas James, an Irish landscape
painter. He contributed to the Dublin Exhibition
in 1809, and was one of the members of the Royal
Hibernian Academy, when it was incorporated in
1823, and keeper in 1841. He died about 1845-6.
The 'Life of James Gandon,' the architect, was
edited by him.
MUNARI, Pbllegrino. See Arbtusi.
MUNCH, Jacob, an obscure German painter,
who flourished between 1776 and 1839.
MUND, Elisb, (or Elizabetha). SeeCoENTGEN.
MUNIER, Jean, a, French engraver on wood,
resided at 'Toulouse about the year 1553. He ex-
ecuted several woodcuts in conjunction with Jean
Perrin. Among others, we have by these artists
the prints for a small octavo volume of emblems,
entitled ' La Morosophie de Guillaume de la Perriere
Tolsain, contenant cent Emblemes,' published at
Lyons in 1553.
MUNN, James, probably a relative of Paul Sandby
Munn, exhibited water-colour landscapes with the
Incorporated and the Free Societies, between 1767
and 1773.
MUNN, Paul Sandby, an English water-colour
landscape painter, born in 1773. He exhibited at
the Royal Academy from 1798 to 1805, and from
1805 to 1815 at the Water-colour Society, of which
he was an Associate. He died at Margate in 1845.
Three of his water-colour drawings are at South
Kensington.
MUNNICKHUIJSEN, Jan, a Flemish engraver,
flourished about the year 1680. We have several
plates by him, executed with the burin ; among
them, the following portraits :
Hendrik Dirksen Spiegel, Bureomaster ; after Limlurg.
Frans Burmann, Professor of Theology ; after 0. Maas.
Hendrik van der Graft.
Cornelis van Tromp, Admiral of Holland ; after D. van
der Flaas.
Pieter van Staveren, of Amsterdam ; after W. Mi'eris.
Pieter Zureudonk, Eector of the Latin School at Am-
sterdam.
He also engraved an upright plate of two boys,
emblematical of Autumn and Winter, after Gerard
de Lairesse.
MUNNIKS, Hendrik, a Dutch painter of por-
traits and history, who flourished at Utrecht in
1627. In that year he was regent of the hospital
of St. Job, Utrecht, and united with some of his
fellow-artists to found a new Academy of St. Luke.
He was still working there in 1640. In 1644 a
certain Hendrik Munnekens was inscribed in the
Society of Painters, at the Hague, who may have
been identical with Munniks. He is described
as having painted, in 1643, a ' Venus ' which the
Prince of Orange bought for 120 florins. About
1620 he had presented a picture to the Hospital of
St. Job.
MUNOZ, EvAKiSTO, born at Valencia, 1671,
studied painting under Juan Conchilles Falco.
Without much artistic merit, his productions
187
Sdunoz
A BIOGRAPHICAL DICTIONARY OP
Mures
pleased the public taste, his popularity being en-
hanced by his social talents. While at Majorca he
married the widow of an Algerian captive who
subsequently proved to be still alive. A second
marriage was nullified under nearly the same cir-
cumstances. Enlisting in a cavalry regiment, he
still exercised his pencil. Quitting the ranks on a
third marriage, he settled at Valencia, establishing
a school of painting there which produced some
good artists. He died in 1737. His principal
works were in the Dominican and Augustine con-
vents, and an altar-piece of SS. Raphael and
Mathias in the cathedral. For the Franciscans at
Palmajie painted their communion chapel.
MUNOZ, Jeb(3himo, a Spanish portrait painter,
who flourished about 1630. He was a knight of
Sant lago.
MUSOZ, N., a Spanish painter, who was at work
at Lorca and at Carthagena about 1696.
MUSfOZ, Sebastian, was born at Navalcarnero
in 1654, and was a disciple of Claudio Coello. In
1680 he visited Italy, and studied six years in the
school of Carlo Maratti. On hia return to Spain,
he first settled at Saragossa, in 1684, where in
conjunction with Coello he executed some con-
siderable frescoes in the collegiate church De la
Manteria. He went to Madrid before 1686, and
in 1688 was made painter to the king. He was
employed in the royal palaces, where he painted a
series of frescoes of the history of Cupid and
Psyche, and of Angelica and Medora, as well as
the portraits of Queen Maria Luisa and other im-
portant personages. He painted in a flimsy style.
He died at Madrid, in consequence of a fall from
a scafEoId, in 1690. Other works by him are :
Madrid. Gallery. His own portrait.
„ Infant D. Seb. \ A martyrdom of St. Sebastian
Gabriel's, j (painted for the Sacristy del
Carmen descalzo).
„ S. Salvador. A series of eight scenes from the
life of St. Bloy.
MUNTINCK, Gerard, a Dutch engraver, was
born at Groningen, and flourished about the year
' 1640. He engraved several portraits.
MUNTZ, J. II., a landscape painter much em-
ployed by Horace Walpole. He published a book
on painting in encaustic in 1760, and exhibited a
landscape in encaustic at Spring Gardens in 1762.
He exhibited for the last time in 1763. He is said
to have married a servant of Lord Orf ord's, and to
have lost his patronage somewhat suddenly.
MUOLTSCHER, Hans, was an early painter of
Ulm in Swabia, of whom there are no particulars
recorded. Ottley mentions an altar-piece by him,
with the date 1436, which was in the Truchsessian
Gallery of Pictures. Lord Lindsay conceives that
he was the parent of the succession of painters at
Ulm.
MURA, Francesco de, called Franceschiello,
was born at Naples about 1700. He studied under
Domenico Piola. At ten years of age he copied in
a manner that surprised Solimena a picture by that
master, whose best pupil he afterwards became.
His works are very numerous at Naples, but his
chief work was the decoration of the palace at
Turin with frescoes representing scenes from the
life of Achilles and from the Olympic games. He
also painted portraits of several members of the
Savoy family.
MURA. See La Muea.
MURAND, Emanuel, (or Meurant,) was born
at Amsterdam in 1622, and was the scholar of
188
Philips Wouwerman, though he did not adopt the
same subjects as those painted by his master.
Instead of horse-fairs and hunts, he painted views
of towns and of ruined buildings in Holland. He
visited France, and resided some time in Paris,
where his works were greatly admired for the
delicacy of their handling. On his return to
Holland, he settled at Leeuwarden, in Friesland,
where he died in 1700. His pictures are not
frequently to be met with, and are very highly
finished. There remain of them :
Amsterdam. Museum. An old Fann-house.
Copenhagen. Museum. Two similar subjects.
MURANO, Antonio da. See Vivaeini.
MURANO, Bartolommeo da. See Vivarini.
MURANO, Giov. da. See Alemanno.
MURANO, Natalino ua, according to Ridolfi,
was a disciple of Titian, and flourished about the
year 1658. He painted historical subjects of an
easel size, but was more celebrated as a portrait
painter. He died young. Lanzi saw at Udine
' A Magdalen,' signed and dated 1568, by this
master.
MURANO, QniRico da, was a painter of the 16th
century, and probably a pupil of Giovanni da
Murano (Alemanno). Lanzi says that a picture of
the Virgin seated, at whose feet was a veiled female
figure, was signed "Quiricius de Murano," and in
the possession of Sig. Sasso. It was not dated.
He is the author of an altar-piece with St. Lucy
and incidents from her life, once in the possession
of Cardinal Silvestri at Rovigo. The Academy
of Venice possesses a Virgin adoring the Child,
attributed to him, and several churches in the same
city have altar-pieces by him. No dates can be
given of his birth or death.
MURATORI, Domenico Maria, was born at
Vendrana in the Bolognese state about 1661, and
was a scholar of Lorenzo Pasinelli. He resided
chiefly at Rome, where he was much employed
for the churches and public edifices ; he is one
of those artists who long continued faithful fol-
lowers of the style of the Carracci. In the church
of the SS. Apostoli, the principal altar-piece is by
him, representing the Martyrdom of St. Philip and
St. James. His talents were sufBcient to procure
him a commission to paint one of the prophets
in the Basilica of San Giovanni Laterano. At Pisa,
in the cathedral, there is a fine picture by him
representing St. Ranieri working a Miracle. He
died in 1749. J. J. Frezza, J. Rossi, and others
have engraved after him. He has left two or
three etchings, — ' S. Francesco de Paula,' ' Poesy,'
after Pasinelli, and a ' Holy Family,' after Catarini
(1685).
MURATORI, Teresa, (or Scannabecchi,) was
born at Bologna in 1662. She was the daughter
of a physician, and at a very early age discovered
a genius for drawing and music. She was first
instructed in design by Emilio TarufB, was after-'
wards a scholar of Lorenzo Pasinelli, and lastly
studied under Giovanni GiosefEo dal Sole. She
executed several works for the churches it Bologna,
of which the most deserving of notice are, ' St.
Benedetto resuscitating a dead Child,' in the church
of San Stef ano ; the ' Annunciation,' in SS. Trinita ;
and the ' Incredulity of St. Thomas,' in La Madonna
di Galeria. She died in 1708.
MURER, Chr. See Maueee.
MURES, Alonso, was bom at Badajoz before
the year 1700, and practised his art in that city
till his death in or about 1761, chiefly under the
Murillo
PAINTERS AND ENGRAVERS.
Murillo
patronage of Bishop Malaquilla. Nothing is
known of his early life ; he left several sons,
likewise painters. Cean Bermudez praises his
works in the Franciscan, Augustine, and Carmelite
convents, especially a picture of St. Francis de
Paula in the church of the Observant fathers.
MURILLO, BARTOLOMifi BsTi^BAN, was born at
Seville, probably in the last days of December
1617, as he was baptized on the 1st of January,
1618. His father was Gaspar Eet^ban Murillo, a
mechanic, and his mother Maria Perez. He lost
both his parents before he was ten years old, and
was left to the care of an uncle by marriage. Soon
afterwards he was apprenticed to his relation, Juan
del Castillo, who taught him the elementary details
of an artist's education, and gave him instruction
in drawing. In 1640 del Castillo left Seville, and
Murillo, who was then two-and-twenty, had to
struggle for existence. The first subjects he
painted were country people and beggar boys, in
which he displayed an accurate attention to nature,
and a charming simplicity of character peculiar
to himself. His pictures of this description are
vigorously coloured, though without the softness
which afterwards distinguished his works. At
this time it was customary for young artists to
expose their pictures for sale at the Feria, or
weekly market, and many of his earliest were
purchased there, and thence exported to Spanish
America, thus probably giving rise to the false
tradition that he visited that country. In 1642
Pedro de Moya, who had been a pupil of J. del
Castillo, returned from his campaign in Flanders
and his study under Van Dyck in England. His
account of the glories of the Flemish school of
painting raised Murillo's ambition, and the young
artist conceived the idea of going at least to Madrid,
perhaps to Rome. He went to the Spanish capital
in 1643, and on his arrival applied for advice to
Velazquez, his fellow-townsman, then at the height
of his reputation. That artist not only admitted
him into his painting-room, but treated him with
the greatest kindness and liberality. He procured
for hinf access to the rich treasures of art deposited
in the Royal Collections, and gave him instruction.
Murillo's attention was particularly directed to the
works of Ribera, Van Dyck, and Velazquez, which
he studied and copied, thus greatly improving his
colouring. After having had, during nearly three
years, the advantage of the advice of Velazquez and
the patronage of Olivarez, Murillo, not caring any
longer to go to Rome, returned in 1645 or early in
1646 to Seville. There, in that year, he undertook
■ to paint for a very small sum his first great work,
the series of eleven pictures for the Franciscan
convent within the walls of Seville, ten of which
pictures were afterwards carried off by Marshal
Soult to France, and the eleventh sold to Mr. Ford.
And here it is necessary to observe that in the
former editions of this Dictionary it was assumed
that a picture of ' The Charity of St. Thomas de
Villanueva,' which formed one of this series, was
the celebrated one Murillo prized so highly that he
always spoke of it as "his picture." This latter
was not painted until between 1670-80 for the
Franciscan convent, called tlie "Capuchins," 'with-
out the walls of Seville. Standish, writing about
1840, tells us that it was then in the chapel of
Santa Ana in the cathedral. It is now said to be
in the Public Gallery of Seville. Murillo painted
the subject several times. The pictures painted
for the other convent in 1647 placed Murillo in the
front rank of the painters at Seville, and he was
soon busily employed on sacred and other subjects.
In 1648 he married a wealthy lady, Dona Beatriz
de Cabrera y Sotomayor, of Pilas, near Seville,
who is thought to have been the model whose
face appears in many of his beautiful Madonnas.
In 1654, on the death of Pacheco, Murillo became
the legitimate head of the Sevillian school ; and
his house was the resort of many distinguished
persons in the city. He was now much employed
by the cathedral authorities and other ecclesiastical
bodies. In 1655 he painted ' St. Isidor' and ' St.
Leander ' by order of the Archdeacon of Carmona.
In 1656 he produced ' St. Anthony of Padua' for
the cathedral chapter, and in the same year the
four large pictures — two of which represent the
legend of Our Lady of the Snow, and are now in
Madrid — for his friend the Canon Justino Neve y
Yevenes. The first of January 1669 saw tlie
foundation by Murillo of the Academy of Seville,
started under many difiSculties through the half-
heartedness of his rivals in art, the younger Herrfira
and Valdds Leal. The former and Murillo were
elected joint presidents ; but Murillo left it in its
second year, and, owing to personal jealousies and
quarrels, the Academy never really succeeded.
In 1668 Murillo executed a ' Virgin of the Concep-
tion,' and eight oval half-length figures of saints
for the chapter-house of the cathedral. In 1671 to
him was entrusted the decoration of the All Saints'
chapel on the occasion of the festival held in
honour of the canonization of Ferdinand III., and
his work was most highly praised by the poet La
Torre Farfan. In 1G71 Murillo commenced one of
his most celebrated works, the series of paintings
for the church of the Hospital of La Caridad.
They are eleven in number, and occupied him four
years. Six still remain in the hospital. Marshal
Soult carried off the other five. Cean Bermudez,
who saw all these paintings when still together,
awarded the palm to ' St. Elizabeth ' and ' The
Prodigal's Return.' In 1674, the date of their
completion, Murillo received 78,115 reals in pay-
ment for his works. From 1674 till 1680 Murillo
was employed by his friends the Franciscans to
decorate their Capuchin convent outside Seville.
It is said that for three years he remained entirely
within its waills, and executed upwards of twenty
important works (seventeen of them are now in the
Seville Museum). Of these, the most celebrated is
that of ' St. Thomas of Villanueva distributing alms.'
The subject of ' The Immaculate Conception '
was one which Murillo painted many times. The
picture in the Louvre is the best known, but it is
difHcult to dissent from the opinion of Madrazo,
who asserts that the example in the Madrid
Museum is the finest of all these pictures. Stir-
ling doubts whether Murillo painted his last work,
' The Marriage of St. Catherine,' at Cadiz, and
his contention that the picture was executed at
Seville appears very reasonable. Be this as it
may, it is agreed on all hands that Murillo died
at Seville in 1682, from the consequences of a
fall while painting this picture, which was finished
by his pupil, Menesfes Osorio. Murillo left three
children. The second, Gaspak Esteisan, was a
priest, but painted in the style of his father. As
a landscape painter Murillo had great merit, as
may be seen in the backgrounds of the series of
pictures, ' The Life of Joseph,' painted for the
Marquis of Villamanrique. He is said to have
etched one plate, a small half-figure of St. Francis.
189
lilurillo
A BIOGKAPI-IICAL DICTIONARY OF
Murillo
The following list includes most of the important
works of Murillo :
Althorp. Earl Spencer'' s Portrait of Himself. {Inscrihed,
Collection. " Bart"'- Murillo seipsum de-
piugens pro filiorum votis ac
precibus explendis.")
Amsterdam. Galhry. The Annunciation.
Belvoir Castle. {Duke of The Virgin with the Infant
Rutland^s Coll.) Christ on her knee, adored
by Saints.
„ „ The Holy Family with a Lamb.
„ „ Adoration of the Wise Men.
Berlin. Museum. Madonna and Child {replica of
a picture in the Seville Gall.).
„ „ St. Anthony of Padua with the
Infant Christ.
Buda-Pesth. Galleiy.'\
{Formerly Esther- VHoly Family.
hazy Collection.) J
,, „ The Virgin and Child and two
Angels.
„ „ The Virgin and Child and three
Missionaries.
„ „ The Fhght into Egypt.
„ „ Portrait of Murillo. {DouUed
by some critics. Etched hy
Paul Rajon.)
„ „ St. Joseph and the Infant
Christ.
Burghley. House. (iJ/Wr-")
quess of Exeter^ s vBeggars regaling.
Collection.) j
„ „ Diogenes throwing away his
cup.
Cadiz. Hospital. St. Francis of Assisi receiving
the Stigmata.
„ „ St. Francis de Panla praying.
„ „ The Marriage of St. Catherine.
{His last work.)
Presden. Gallery. The Martyrdom of St. Eod-
rigues.
„ „ The Virgin and Child.
Dublin. JVat. Gallery. Portrait of Josua van Belle.
„ „ The Infant St. John.
Dulwich College. Gall. The Spanish Flower Girl.
„ „ Three Spanish Peasant Boys.
„ „ Two Spanish Peasant Boys.
„ „ The Madonna del Rosario.
Florence. Pittz Falace. Virgin and Infant Christ.
„ „ Madonna del Rosario.
Glasgow. Gallery. Portrait of Josua van Belle.
„ „ The Infant St. John playing
with a lamb.
Hague. Gallery. The Virgin and Infant Christ.
{From a monastery at Ypres.)
„ „ Bust Portrait of a Young Man.
Heytesbury House. ^
{Lord Heyteshury^s >St. John and the Lamb.
Collection.) J
„ „ The Galician Woman. (Las
Gallegas.)
Kingston Lacy. Mr. \ Angel with a Cardinal's Cap.
Bankes^s Coll. ) {Frobahly part of a larger
picture.)
„ „ St. Augustin, seated.
,, „ St. Rosa of Lima.
LoEdon. JVat. Gallery. The Holy Family, known as
"The Pedroso Murillo.'"
{A masterpiece. Painted at
Cadiz, when the artist was
about sixty years old.)
„ „ A Spanish Peasant Boy.
„ „ St. John and the Lamb. {A
replica is in the possession of
the Earl of Lovelace.)
„ Apsley House, "j
{Duke of Welling- V Isaac blessing Jacob.
ton'^s Collection.) j
„ „ St. Francis of Assisi praying.
„ „ Female Saint with palm branch.
,, Bath House. (Lord ) mi, t ^ *. n i.-
Ashburton's Coll.) j ^^^ Immaculate Conception.
„ „ The Virgin with Infant Christ.
190
London. Bath House. \
{Lord Ashburton's > Ecce Homo.
Collection.) j
„ „ St- Thomas of Villanueva di-
viding his cloak among four
Collection.) j «0'^«'« F«f«'^«-
„ Dorchester House. S
(Mr. R. S. Hoi- j-The Virgin praying.
ford's Collection.) J
„ „ The head of the Virgin.
„ „ Girl with a white mantilla.
., Grosvenor House, "i
(Duke of Westmivr > St. John with the Lamb.
ster's Collectioit.) J
„ „ The Infant Christ sleeping.
„ „ Laban seeking his household
gods in Jacob's tent. [Painted
for the Marquess of Villaman-
rigue.)
" ^E!!rl'ofm^h-\^°''^'f\°^ °™ ^^""^ ^«
brookicoll.) j Andrade.
„ „ A Shepherd Boy crowned with
ivy, playing the flute.
„ „ The Immaculate Conception.
,, „ The Ascension.
„ „ The Holy Family in the Car-
penter's Shop.
" (sf/'I^rF^rd'^^ ^^o-^- »' ^^^ Shep.
lace's Collection.) j "^^*^^*
'J „ The Annunciation,
» „ Joseph lowered into the well
by his brethren. {Formerly
in the Capuchin Convent at
Genoa.)
,1 ., Virgin and Child.
» „ The Holy Family and St. John
the Baptist.
*, „ Virgin a .d Child.
,, „ The Charity of St. Thomas of
Villanueva. {Formerly in the
Capuchin Convent at Genoa.)
if „ Virgin and Child.
>» „ The Virgin and Child in glory,
with Saints.
)' „ Assumption of the Virgin.
» „ The Espousals of the Virgm
Mary and St. Joseph.
„ Lansdowne House. ")
{Marquis of Ixms- >The Immaculate Conception.
downe's Coll.) j
it » The Virgin kneeling.
„ M The Infant Christ with his left
hand on a globe.
,i J, Don Justiuo Neve y Tevenes.
(Formerly in the Hospital de
COS Venei'ables, Seville.)
" (i«tf"/S«-lP°j'™^ "f Ambrosio Ignacio
land's Coll.) J deSpmola.
ij „ Abraham entertaining the An-
gels. (From the Gallery of
Marshal Soult, who took it
from La CaHdad, Seville.)
II II St. Anthony of Padua, with the
Infant Saviour.
II II The Prodigal Son. (From tlit
Gallery of Marshal Soult, wlu>
took It froftn La Cai-idad,
Seville.)
II ,1 Head of a Child.
'I I, The Nativity: mih St. John
and the Lamb on each side.
(Three pictures in one frame.)
,1 II St. Justa. 1 (From the Alta-
ic II St. Rufina. j 7iiira Gallery.)
Longford Castle. (Earl \ Euth and Naomi departing
of Radnor's Coll.) j from Moab.
L»wther Castle. (Earl 1 „ , ,. _, , ,,
of Lonsdale's Coll.) j ^"J '^«'^^'°g C***'^-
Murillo
TAINTERS AND ENGRAVERS.
Lowther Castle. (Earl ) Two boys eating fmit. (Small
of Lonsdale's Col- > replica of the picture in the
lection.) J Finakoihek, Munioh.)
Madrid. ^^I'^J;'^ I Holy Family del Pajarito.
„ „ Eebeeca and Eliezer.
„ „ The Annunciation.
„ „ The Penitent Magdalen.
„ „ St. Jerome.
„ „ The Adoration of the Shep-
herds.
„ ,, The Vision of St. Augustin.
„ „ The Virgin and Christ appear-
ing to St. Francis of Assisi
(La Forciuncula,)
„ „ The Virgin and Child.
„ „ St. James the Apostle.
„ „ The Infant Christ as the Good
Shepherd.
„ „ St. John the Baptist.
„ „ Christ and St. John (Los Ninos
de la Concha).
„ „ The Annunciation.
J, „ The My.stical Ascension.
„ „ St. Ildefonso receiving the
Chasuble from the Virgin.
„ „ The Virgin del Rosario.
,, „ The Conversion of St. Paul.
J, „ St. Anne teaching the Virgin
to read. (Said to he portraits
of his wife and daughter.)
„ „ The Criicitixion. (Two.)
„ ,. St. Ferdinand.
„ The Immaculate Conception.
(Four.)
J, „ Martyrdom of St. Andrew.
„ „ The Prodigal Son (fonr
Sketches.)
Receiving his patrimony.
Leaving home.
Wasting his substance with
riotous living.
Feeding swine.
jj „ The Infant Christ sleeping on
a cross.
The head of St. John the Bap-
tist.
„ „ The head of St. Paul the
Apostle.
„ „ St. Jerome reading.
J, „ St. Francis de Paula, leaning on
a stick.
jj „ St. Francis de Paula, kneeling.
I „ Old woman spinning.
„ Galician woman with money.
IJ „ St. Francis de Paula. (Bust.)
„ „ Ecce Homo.
„ The Virgin de las Dolores.
"^ „ Portrait of P. Cavanillas.
j| „ Hilly Landscape. (Two.)
„ Academy of San \ Eesurreotion of Christ. [Painted
Fernando. j for the chapel of La Espira-
cion, in the Convent of Mercy
(now the Museum) at Seville.']
„ The Dream of the Eoman Sen-
ator and his Wife. (Formerly
in the church of Santa Maria
la Blanca at Seville.)
„ The Eoman Senator and his
Wife telling their dreams to
Pope Liberius. (The same.)
St. Elizabeth of Hungary tend-
.ing the Sick. (Ffl Tinoso.
Formerly in the Hospital of
Charity at Seville^
Munich. Finakothek. Two boys, one eating grapes,
and the other melon. (A re-
plica is at Kingston iMcy.)
„ Two boys eating bread and
fruit, with a dog.
„ Three boys, two throwing
dice.
„ A girl with a basket of fruit,
and boy.
Munich. Finakothek.
Paris.
Louvre.
„ Selliere Coll.
Petersburg. Hermitage.
Seville.
Cathedral.
Santa Maria la
Blanca.
Church of the Ca-
puchins (beyond
the wait).
Murillo
St. Francis de Paula healing a
Cripple at the door of a
church.
An old woman with » child in
her lap.
The Immaculate Conception.
(Two.)
The Birth of the Virgin.
The Virgin, with Angels.
La Vierge au chapelet.
Holy Family.
Christ on the Mount of Olives.
Christ at the Column.
Muraole of San Diego (The
Angel Kitchen).
The Young Beggar. (El Pio-
joso.)
Portrait of Himself. (Formerly
in the Collection of Louts
Philippe.)
Jacob's Ladder.
Isaac blessing Jacob.
The Annunciation. (Similar in
composition to a picture in the
Madrid Gallery.)
The Conception.
The Adoration of the Shep-
herds.
The Adoration of the Shep-
herds,
St. Joseph holding in his arms
the Infant Christ.
St. Joseph leading the Infant
Christ, with two angels.
Eepose in Egypt.
The Flight into Egypt.
Holy Family.
Christ on the Cross.
The Assumption of the Virgiu.
St. Peter released from Prison.
The Vision of St. Anthony.
(Original Study for the altar-
piece of the Cathedral at
Seville.)
The Death of Pedro Arbuez.
(Formerly in the Baptistery of
the Cathedral at Seville.)
A woman and her daughter in
prison.
A boy with a dog.
Young peasant with a basket
and dog.
Young peasantgirlwith flowers.
St. Justa. 'j
St. Rufina. |
St. Ferdinand.
St. Leander.
St. Lawrence.
St. Hermangild.
St. Isidor.
St.- Pius. J
The Immaculate Conception (in
the Cliapter Room).
St. Leander, seated. (Full-
length portrait: in the Sa-
cristia Mayor.)
St. Isidor, seated. (The same.)
St. Ferdinand (full-length: in
the Contaduria Mayor).
St. Ferdinand (bust: in the
Library).
St. Anthony of Padua visited
by the Infant Saviour.
The Guardian Angel leading a
child. (In the Sacrtstia de
los Calices.)
Head of the Infant Christ.
The Baptism of Christ.
Christ after the Scourging.
) The Last Supper (an early
J work).
> Christ on the Cross.
191
Bust-por-
traits : in the
Chapter
Room.
Murphy
Seville.
A BIOGRAPHICAL DICTIONARY OF
Musi
La Caridad.
Moses striking the rock.
Tobit burying the strangled
man (a sketch on a tablet).
The Annunciation.
St. John the Baptist with a
lamp.
The Infant Christ standing on
„ „ The Miracle of the Loaves and
Fishes. {Pan y Feces.)
„ ^^ St. John, sinking under the
weight of a sick man, assisted
by an angel.
„ Provincial \St. John the Baptist in the
Museum. J desert. (Formerly in the Ca-
puchin Convent.)
„ ,, St. Joseph and the Infant
Saviour. (The same.)
„ „ St. Augustine praying.
„ „ The Virgin with the Infant
Christ. (La Vircjen de la Ser-
villeta. Formerly in the Ca-
puchin Convent.)
„ „ St. Felix of Gantalisi, and the
Infant Christ. (From the
Capuchin Convent.)
„ „ St. Augustin and the Holy
Trinity.
„ „ The Immaculate Conception.
„ „ St. Augustine kneeling at the
feet of the Virgin.
„ „ St. Anthony with the Infant
Christ in his arms.
„ „ The Virgin with the Infant
Christ in her arms,
„ „ The Immaculate Conception
(larffe: formerly in the Ca-
picchin Convent).
„ „ The Virgin with the Infant
Christ in her arms.
„ „ A Pieta.
„ „ St. Pedro Nolasco kneeling be-
fore the Virgin.
„ „ St. Bonaventure and St. Lean-
der.
„ „ St. Thomas of Villauueva giv-
ing alms at the door of his
cathedral. (From the Ca-
puchin Convent.)
„ The Birth of Christ.
„ „ St. Francis of Assisi supporting
the body of Christ on the
Cross. (Formerly in the Ca-
puchin Convent.)
n ,1 St. Felix of Gantalisi, with the
Virgin and Infant Christ.
(From the Capuchin Convent.)
), „ St. Anthony, with the Infant
Saviour seated on an open
book. (From the Capuchin
Convent.)
„ ii The Immaculate Conception,
with the Almighty. (Form-
erly in the Capuchin Convent.)
n „ St. Jnsta and St. Bufina, with
la Giralda.
„ „ The Annunciation. '
„ „ The Immaculate Conception.
Stockholm. Soy. Mus. Boy with a basket.
n )» Boy with a glass of wine.
Valladolid. Public Mus. St. Joseph and the Infant
Christ.
Vienna. Belvedere. The young St. John the Bap-
tist with a lamb.
'Woburn Abbey. (Duke'\
of Bedford's > Cherubs scattering flowers.
Collection.) )
I. „ The Virgin and Child.
MURPHY, John, a designer and engraver, was
born in Ireland about the year 1748, and flourished
till the early part of the present century. He
worked in London, and followed both the mezzo-
192
tint and dot systems. He engraved some plates
in the Houghton Collection, and also some after
other works of Italian masterH ; and also after
Reynolds, Northcote, Romney, Stothard, Ramberg,
and B. West. All his productions are good, but
perhaps the following are the best :
Mark Antony's Oration over the body of Cssar ; after
West.
Elisha restoring the "Widow s Son ; after Northcote.
The Tiger ; after the same.
The Eoyal Family ; after Stothard. 1787.
The brothers of Joseph showing his bloody Garment to
Jacob ; after Guercino,
Joseph's interpreting Pharaoh's dream ; after the same.
MURR, Hans von, an obscure German painter,
who lived from about 1644 to about 1713. There
is a ' Sibyl ' by him at Copenhagen.
MURRAY, Elizabeth, was the daughter of
Thomas Heaphy, a painter in water-colours and
the first President of the Society of British Artists.
As Miss Heaphy she exhibited at the Royal Academy
in 1838 and in subsequent exhibitions, a portrait
of a lady and other works. After her marriage
with Mr. Henry John Murray, H. B. M. Consul at
Tangiers, she frequently contributed, from 1846,
subjects of an Oriental character. In 1863 she
became a member of the Institute of Painters in
Water-colours. She died on the 8th December,
1882, at St. Remo.
MURRAY, John. In the ' Gentleman's Magazine,'
for 1 735, there is a short notice of the death of an
artist of this name in Southampton Row : "a famous
face-painter, worth £40,000, died June 1 ".
MURRAY, R , a portrait and subject painter,
practised in London about the middle of tie 18th
century. J. Watson mezzotinted a picture by him
called 'The Enchantress.'
MURRAY, Thomas, portrait painter, a native
of Scotland, was born in 1666, and coming early
to London, became a scholar of John Riley, at the
time when that master was painter to William and
Mary. He was esteemed in his own time, and was
employed to paint the portraits of the royal family
and many of .the principal nobility. He d ed in
1724. The portrait of Murray, painted by himself,
is among those of the great artists in the Florentine
Gallery. Several other works by him are at Ox-
ford ; his portraits of William and Mary are at
the Fishmongers' Hall, and those of Halley and
Sir Hans Sloane at the Royal Society and the
College of Physicians respectively.
MURRER, JoHANN, painter and etcher, was a
native of Nuremberg, where he was born in 1644.
He was a pupil successively of Haberlein, J. F.
Heinsel, and Luca Giordano. At Copenhagen
there is a ' Sibyl ' by him; at Nuremberg a ' Samson
and Delilah.' He etched a ' Diogenes and Alex-
ander,' and a ' Silenus with Bacchantes.' Murier
died in 1713. His daughter Anna Bakbaka was
scarcely inferior to himself as an artist.
MURRI, JACQtJES, a French miniaturist, who
worked in Paris with some repute about 1490.
MUSI, Agostino de', or Agostino de Musis,
called Agostino Veneziano, an eminent engraver,
was born at Venice about the year 1490, and was
pupil of G. Carapagnola, and afterwards formed
his style on a study of Albrecht Diirer. He was
also a disciple of Marc Antonio Raimondi, of whose
fine style he was one of the most successful fol-
lowers. Several of his earliest plates were exe-
cuted in conjunction with Marco da Ravenna, who
had been his fellow-student under Marc Antonio.
Musi
PAIJTTERS AND ENGRAVERS.
Musscher
After the death of Raphael, in 1620, they separated,
and each of them worked on his own account.
On the sacking of Rome, in 1527, the artists re-
sident in that capital sought refuge in the other
cities of Italy; and Agostino went to Florence,
where he applied to Andrea del Sarto for employ-
ment. But having engraved, in 1516, a plate
from a picture by him, representing a dead Christ,
supported by Angels, which did not meet with the
painter's approbation, he would not permit any
more of his pictures to be engraved. The earliest
dated print by Agostino is in 1509 ; and as none
of his works bear a later date than 1636, it may
be presumed, that he did not long survive that
period ; and he is said by Huber to have died
at Rome about the year 1540. This artist holds
a distinguished rank among the engravers of his
time. His burin is scarcely less neat and finished
than that of Marc Antonio ; but he is very inferior
to that celebrated artist in the purity and correct-
ness of his drawing, and in the tasteful expression
of his heads. The prints of Agostino de Musis
are extremely scarce, particularly fine impressions.
He sometimes marked them with a tablet similar
to that used by Marc Antonio, but more frequently
with the initials A. V. with the date. The following
are the best :
PORTRAITS.
Pope Paul III., in profile ; inscribed Paulus III. Port.
Max. 1534.
The same Pontiff, with the papal crown ; dated 1536.
Charles V. holding a sword ; after Titian.
Another Portrait of Charles V. ; dated 1536.
Ferdinand, Eling of the Eomans ; inscribed Proximus a
summo Ferdina-ndus, ^c. 1536.
Francis I. of France ; dated 1536.
The Saltan Soliman ; dated 1535.
SUBJECTS FROM SACRED HISTORY.
The Creation ; engraved in conjunction with Marco da
Eavenna ; after RapJiael.
The Sacrifice of Isaac ; after the same.
The Benediction of Isaac ; dated 1522 ; after the same.
The same subject ; dated 1524.
The Israelites passing the Bed Sea ; after the same.
The Israelites gathering the Manna; after the same.
This plate is supposed to have been begun by Marc
Antonio.
Samson bound by the Philistines ; circular ; from his
own design.
The Nativity ; after Giulio Romano. 1531.
The Four Evangelists ; in four plates ; after the same.
1518.
The Murder of the Innocents ; copied from the print by
Marc Antonio. A. V.
The Nativity ; copied from a woodcut by A. DUrer.
Christ bound to the Pillar ; the same.
The Last Supper ; the same. 1510.
The dead Christ, with Angels; after A. del. Sarto.
1516.
The Archangel Michael ; after Raphael.
The Virgin and Infant Christ, with St. John ; after
Francia.
St. Jerome, with the Lion ; after Raphael.
HISTORICAL AND MYTHOLOGICAL SUBJECTS.
\
Diogenes seated by the side of o River ; after Baccio
Bandinelli.
Tarquiu and Lucretia ; after Ba^phael.
The Death of Lucretia ; copied from the print by Marc
Antonio, after Raphael.
Cleopatra ; after Baocio Bandinelli. 1518.
Vulcan giving Cupid's Arrows to Venus ; after Raphael.
1530.
Venus riding on a Dolphin, with Cupid holding a
Torch ; after Raphael.
VOL. II . 0
Jupiter and Leda.
Apollo and Daphne; after Raphael; attributed by
some to Marc Antonio.
The Fall of Phaeton ; marked A. V. on a tablet.
The Triumph of Silenus; after Raphael; the same
mark.
The infant Hercules destroying the Serpents ; after
Giulio Romano.
Hercules strangling Antajus ; after Michelangelo Buon-
ai'roti.
Hercules destroying the Nemean Lion ; after Raphael.
VARIOUS SUBJECTS.
The Burying-plaoe, an assemblage of emaciated figures
with skeletons, and a figure of Death holding a book ;
after Baccio Bandinelli ; inscribed Augustinus Venetus
de Musis faciebat. 1518.
A large prmt, called the Climbers ; after the famous
cartoon of Pisa, by Michelangelo Buonarroti, dated
1533. This print is very different from that of the
same subject engraved by Marc Antonio, which
consists of many more figures. It is marked with
the name of the painter on a tablet, and dated 1524.
The Academy of Baccio Bandinelli, in which that
artist is represented in the midst of his disciples.
1531.
The Battle of the Sabre, so called from a sword which
lies on the ground, fallen from the hand of a warrior,
who is represented as dead, on the right-hand side
of the print.
An Emperor on horseback, with attendants, called by
some the Triumph of Marcus AureUus. This print
is marked with the tablet used by Marc Antonio,
who is supposed to have partly engraved it.
An old Philosopher or Magician, seated on the ground,
measuring, with his compasses, a circle in which ara
seen the sun and moon ; dated 1509 ; after Dom,
Campagnola.
He also engraved a variety of plates after ara-
besques by Raphael, and several busts and antique
vases.
MUSI, GiULio de', probably a relation of Agos-
tino de' Musi. He engraved some pLites of
antiquities, after drawings by Phyrro Ligorio,
which bear the dates 1553 and 1554.
MUSI, Lorenzo de', also supposed to be a relation
of Agostino. He engraved a portrait of ' Barba-
rossa. Re de Algieri,' dated 1636, and perhaps a
female figure called ' Peace,' on which are the
letters L. M.
MUSIANA. See Muziano.
MUSLER, Gerard van, a Flemish painter of
little importance. He was inscribed on the register
of the Guild of St. Luke at Bruges, in 1470.
MUSNIER. See Mexjnier.
MUSS, Charles, enamel and glass painter, was
born in 1779, and was the son of Bonifacio Musso,
an Italian. Among some enamels produced for
Georges III. and IV., there is a ' Holy Family,'
after Parmigiano. In St. Bride's Church is his
glass-painting, the ' Descent of Christ from the
Cross,' after Rubens. Between 1802 and 1823 he
contributed many enamel reproductions of pictures
to the Academy exhibitions, among them one
after Wilkie's ' Duncan Grey.' He produced thirty-
three plates of designs and etchings for ' Gay's
Fables.' He died in 1824.
MUSSCHER, MicHiEL van, a Dutch painter and
etcher, was born at Rotterdam in 1646. He was
first placed under the tuition of Martin Zaagmoolen,
an obscure artist, with whom he did not continue
long, and was afterwards successively the scholar
of Abraham van den Tempel, Gabriel Metsu, and
Adrian van Ostade. He did not, however, exactly
follow the style of either of his instructors, but
adopted one more resembling that of Frans Mieris.
He painted conversations, views of towns, and
193
Mussini
A BIOGEAPHICAL DICTIONARY OF
Muziano
is that of his
Descamps, he
subjects. His
and his colour
at Amsterdam,
with in many
out of his own
The following
small portraits. His best picture
own family; and according to M.
occasionally attempted historical
execution was thin and laboured,
poor. His principal residence was
where his pictures are to be met
collections. They are little known
country. He died there in 1706.
of his works remain :
Brussels. Arenburg Gal. The Good Mother.
Hague. His own Family. 1681.
London. Lord North- \ "Willem van de Velde in his
h'ook's. J atelier.
Eotterdam. Museum. Three Children. 1690.
A. Blooteling, I. van Gunst, and others, have
engraved after him. He scraped his own portrait
in mezzotint, and engraved,
Portrait of Johann Moritz of Nassau.
Portrait of the Physician GaJenus Ahrahamsz.
MDSSINI, Cbsaee, was born at Berlin about
1797. His artistic education was mainly received
in the Academy of Florence. He was afterwards
named court painter to the Grand Duke of Tuscany,
and professor in the Academy. His best pictures,
' Tasso reading his Poems,' and ' Atala,' are at
Florence.
MUSSO, Bonifacio, an Italian artist, who was
settled at Newcastle-on-Tyne at the end of the
18th century. He was the father of Charles Muss.
MUSSO, Niccol6, was a native of Casalmon-
ferrato, and flourished about the year 1618. Ac-
cording to Orlandi, he went to Eome when he was
very young, and entered the school of Michel-
angelo da Caravaggio. After passing ten years at
Eome, he returned to his native city, where he
painted several altar-pieces for the churches, of
which Lanzi particularly mentions a picture of
' St. Francis kneeling before the crucified Saviour,'
in the church dedicated to that Saint. His style
is a mild edition of Caravaggio's.
MUSSON, Mathibu, a Flemish painter, of whom
little is known. He was received into the corpor-
ation of St. Luke at Antwerp in 1647-8, together
with Mathieu Musson the younger, who is pretty
sure to have been his son, as he was received as
the ' son of a master.' One of the two died in 1678.
MUTINA. See Modena.
MUTTENTHALEE, Anton, (Tony,) a German
painter of history and genre, was born at Hoch-
stadt in 1820. He studied under Kaulbach, at
Munich. A ' Battle of Ampfing,' in the Bavarian
National Museum, is one of his best works ; he also
designed many illustrations for German books.
He died at Leipzig, March 21, 1870.
MUTTONI, PlETEO de', a Venetian painter,
called Pietro della Vecchia, from his skill in
restoring, copying, and imitating old pictures, was
born in Venice in 1605. He was a pupil of Varo-
tari, but did not resemble him in style. Some of
his pictures are found in the Church of Ogni Santa
at Venice, and at Verona ; and in the National
Gallery at Dublin is a picture of ' Timoclea brought
before Alexander.' He died about 1678.
MUX, Jacob, a Flemish painter, who was em-
ployed at Lorrain in 1468. Nothing is known of
his life.
MUXEL, Johann Nepomuk, brother of Joseph
Muxel, was born at Munich in 1790. He studied
(heology, but afterwards devoted his time to
194
painting under Mannlich and Langen. He taught
the Princes of Leuchtenburg drawmg, and published
the 'Leuchtenburg Gallery,' between 1835-40.
There is a fine picture by him, ' The Holy Family
by Night,' at Augsburg. He also engraved a
number of plates, among which is 'Christ and
the Little Children,' after Van Langen.
MUXEL, Joseph, was bom in 1786, and the son
of a sculptor of the same name in Munich, who
taught him to draw ; otherwise he was almost
self-taught, but rose to eminence as a portrait
painter. In 1819 he painted the portrait of King
Maximilian L, and was appointed court-painter in
the following year. There is an 'Adoration of
the Shepherds ' by him at Ausburg.
MUYLTJES, Adriaan, a little known painter of
Haarlem, who was inscribed on the guild in 1640.
He was one of the signataries of the petition of
1642. He died in 1649.
MUYNCK, Adbiaan van, a Flemish painter of
history, was born at Bruges about 1738. He was
a pupil of M. de Visch. After a visit to France,
he settled in Eome, where he became director of
a Flemish hospital, and died in 1814.
MUYS, Nicholas, son of Willem Muys, was
born at Eotterdam in 1740. He was instructed
by his father, and also by Aart Schoumanat the
Hague. He painted portraits and cabinet pictures,
chiefly interiors. He died in 1808.
MUYS, E., a Dutch engraver, has left, among
others, a portrait of William, Prince of Orange.
MUYS, Willem, was born at Schiedjim in 1712,
and resided at Eotterdam. He painted portraits
and other subjects of large dimensions ; and also
cabinet pictures in the taste of Mieris and Van
der Werf. He died at Rotterdam in 1763.
MUZIANO, II Cavalieee Gibolamo, (or Musi-
ana,) called Gibolamo Beessano, and Messer
Gibolamo Beescianino, (' II Giovane de' Paesi,')
was born at Acquafredda, in the territory of
Brescia, in 1528. After receiving some instruction
in art in his native city, under Girolamo Eomanino
and Vasari Mosciano, he went to Venice, where
he studied the works of Titian, Giorgione, and
the other great masters. When he was about
twenty years of age he visited Eome, accompanied
by Federigo Zuccaro, where it was not long before
his abilities recommended him to the notice of
Gregory XIII., who employed him in the CapeUa
Gregoriana, and commissioned him to paint two
pictures for the church of St. Peter, representing
' St. Jerome ' and ' St. Basil.' He was appointed
Superintendent of the works at the Vatican.
Muziano distinguished himself also as a landscape
painter, and acquired at Eome the appellation of
' II Giovane de' Paesi.' Cardinal Farnese employed
him to decorate his villa at Tivoli, in conjunction
with Federigo Zuccaro and Tempesta, and he here
evinced the superiority of his talents over both his
competitors. About this time he produced his
picture of the ' Eesurrection of Lazarus,' painted
for the church of Santa Maria Maggiore, afterwards
removed to the pontifical palace of the Quirinal.
This capital production excited the admiration and
procured him the esteem of Michelangelo, who
assisted him with his instruction and advice, and
presented him to the Cardinal Hippolyte d'Este,
who employed him to decorate his palace at Tivoli.
The backgrounds of Muziano's pictures are fre-
quently embellished with landscapes which remind
us of the style of Titian. According to Vasari he
was employed at Orvieto in the cathedral. He was
Mynde
PAINTERS AND ENGRAVERS.
Kytens
also much employed in designing after the antique ;
and to him we are indebted for the completion of
the drawing from the design of the bas-reliefs of
the Trajan Column, which had been begun by
Giulio Romano, and was afterwards engraved.
Muziano was the founder of the Academy of Saint
Luke in Rome ; and contributed to it a part of the
money he had acquired by his art. He died at Rome
in 1592. Cornelis Cort, Niccol6 Beatrizet, and
others have engraved about thirty of his works.
Among others he has left :
Florence. Uffid. Male Portrait.
Naples. Museum. St. Francis of Assisi.
Paris. Louirre. Incredulity of St. Thomas.
„ „ The Eaising of Lazarus.
Bbeims. Cathedral. Christ washing the Disciples' feet.
Borne. S. Maria d. } Christ delivering the Keys to St.
A ncjeli. J Peter.
„ Ara Cmli. The Ascension.
„ ColoTma. Portrait of Vittoria Colonna {an-
other in Doria Famjili Gallery).
„ 8. Paolo. The Assumption.
„ St. Peter. Christ in the Garden.
„ „ The Scourging of Christ.
Stockholm. St. Jerome.
MYNDE, J., resided in London about the year
1760, and engraved several plates for the book-
sellers. We have by him some anatomical figures,
and a few portraits, among which are, Roger,
Earl of Orrery, and William Harris, D.D.
MYRIGINUS, (Myeicinus, or Myeicinis). See
Merioa.
MYRTILL. See Glaitbee, J. G.
MYTENS, Aaet Izaak, a portrait painter of
great merit, resided at the Hague from 1612 to
1640, but there is no record of him except in his
works. He painted the portraits of the eminent
Dutch poet and painter, Jacob Gats, and of his
house-keeper, named Havius ; also of the Prince of
Orange-Nassau. At the Hague is ' The Celebration
of the Marriage of the Elector of Brandenburg
with the daughter of Erederic Henri, Prince of
Orange,' by A. I. Mytens (formerly in the Lormier
Collection). See also Meijssens, Jan, who appears
to have been confused with this artist.
MYTENS, Aenold, was born at _ Brussels
in 1541. After receiving some instruction in his
native country, he travelled to Italy, in com-
pany with Anthonie de Santvoort, and studied
tinder his direction some years at Rome. He
afterwards visited Naples, where he became a
pupil of Cornelis Tijp, and painted an altar-piece
representing the Assumption of the Virgin, with
the Apostles ; and in the church of San Lodovico,
a picture of the ' Miraculous Conception.' On his
return to Rome he was employed on gome consider-
able works in the church of St. Peter, and died in
that city in 1602. Other works of his are :
Amsterdam. The Crowning with Thorns.
Cassel. Jupiter and Cahsto.
MYTENS, Coen. and Jan. See Meijssens.
MYTENS, Daniel, the elder, was born at the
Hague at the end of the 16th century. He came
to England in the reign of James I., and in that of
Charles L was painter to the king. Plis patent to
that effect is dated 30th May, 1625. He had
studied the works of Rubens previous to his coming.
His landscape, in the backgrounds of his portraits,
is evidently in the style of that school ; and some
of his works have been taken for those of Van
Dyck. At Hampton Court are several whole-
lengths of the princes and princesses of the House
0 2
of Brunswick- Luneburg, and the portrait of Charles
Howard, Earl of Nottingham. At Kensington is
a Head of himself ; and at St. James's is a fine
picture by Mytens, of Hudson, the dwarf, holding
a dog with a string, in a landscape, warmly
coloured and painted freely, like Rubens orSnyders.
Mytens remained in great reputation till the arrival
of Van Dyck, who being appointed the king's
principal painter, the former, in disgust, asked his
Majesty's leave to retire to his own country ; but
the king, learning the cause of his dissatisfaction,
treated him with much kindness, and told him that
he could find sufficient employment both for him
and Van Dyck. Mytens consented to stay, and
even grew intimate with his rival ; for the head of
Mytens is one of those painted by that great master.
Whether the same jealousy operated again, or real
decline of business influenced him, Mytens did not
stay much longer in England. At Blenheim Palace
there used to be three magnificent examples of
Mytens : full-length portraits of the first Duke of
Buckingham, of the first Earl of Holland, and of
the second Duke of Hamilton. The last-named
was not born, however, until 1616, and as in his
picture he is a man of at least twenty, either the
date of Mytens's departure from England cannot
have been so early as that usually given, namely
1630, or the portrait must have been wrongly
identified. In his own country Mytens lived many
years beyond this date, and died about 1656.
Houbraken quotes a register at the Hague, dated
in 1656, at which time Mytens painted part of the
ceiling of the town-hall there. Works :
Chatsworth. Sir F. Walsingham. 1626.
Copenhagen. Charles I. as Prince of Wales.
Dresden. Gallery. Charles I. and his Consort.
Hague. Tovm-hall. A ceiling.
London. Copies after Raphael's Cartoons.
„ Buckingham Pal. Portraits of Charles I. and Henri-
etta Maria.
Serlby. LordGalway's. The Duke of Portland.
The Duke of Newcastle with his
two Wives.
The Earl of Craven.
MYTENS, Daniel, the younger, called Bontb-
KEAAIJ, was born at the Hague in 1644. He was
the son of Jan Mytens, and the grandson of
Daniel the elder. He was the pupil of his father,
and was more than once at the head of the Pictura
Society, at the Hague. He worked for some years
in Rome. His death took place in 1688.
MYTENS, Isaac, son of Daniel the elder. He
was active about 1640-65, at the Hague. He was
one of the founders of the Pictura Society, to
which he still belonged in 1665.
MYTENS, Jan A., son of Daniel the elder. He
flourished at the Hague between 1630 and 1672.
He was one of the founders of the Pictura Society,
and in 1656 one of its two chiefs. He has some-
times been confused with Isaac Mytens, but M.
Kramm had a picture signed Jan Mytens pinx.
1649. Several portraits by him are in the Amster-
dam Museum.
. MY TENS, Maetin van, son of Aart Isaak Mytens.
He was a member of the painters' brotherhood at
the Hague in the middle of the 17th century ._ He
was appointed court-painter to Queen Christina of
Sweden, and died in that country, where he left
descendants who were also painters (see Meytens).
There is a portrait of himself in the Amsterdam
Gallery.
195
ITabholz
A BIOGEAPHICAL DICTIONARY OF
NaigeoD
N
NABHOLZ, JoHANN Cheistoph, a painter and
engraver, born at Begensburg in 1752, died in
1796. He painted principally portraits, among
them those of the Czarina Catherine II. ; and of
many of her nobility. Some of his portraits and
other subjects he engraved himself.
NACHENIDS, Jan van, a native of the Hague,
who painted about 1812. He was a pupil of
Mathieu Terwesten. He lived first at Amsterdam,
afterwards in the Dutch Indies, where he died.
NACHTEGAELE, Pietbe, an obscure Elemisb
painter, who flourished at Bruges in 1450.
NACHTMANN, Franz Xavies, painter and litho-
grapher, was bom at Bodenmais, in Lower Bavaria,
in 1799. He studied in the Academy at Munich,
and was employed in 1823 as flower and fruit
painter at the Boyal China Manufactory of that
city. In 1827 he quitted this employment to
devote himself to portraiture in water-colour and
miniature, and the study of architectural perspect-
ive. His portraits of the royal family are finely
executed, while among his perspective views may
be mentioned, the ' Interior of the Court Church at
Munich.' He signed his works X. N. Nacht-
mann died in 1846.
NADAT. See Dati, Natale.
NADORP, Franz, a painter, etcber, and litho-
grapher, also a sculptor and modeller, was born at
Anholt, Rhenish-Prussia, in 1794. He began to
learn painting under Bergler at Prague in 1814
Afterwards he spent some time at Dresden, Vienna,
and Rome, where he died in 1876. Nadorp painted
landscapes of large dimensions, as well as portraits
and other subjects. Among them :
The Villa Raphael.
The Villa d' Este.
The Forum of Pompeii.
The Murder of Eling Edward's Children.
Dante.
Fraucesoa da Bimini.
He also etched thirteen plates, among which is
• The Barberini Triton.'
NAECKE, Gustav Heinrich, was born at
Frauenstein in Saxony in 1786, and was instructed
by Grasse, whom, however, he followed only in
his colouring. After having lived at Rome for
some years, he, in 1825, became a professor at the
School of Art at Dresden, where he died in 1835.
Among his paintings are :
St. Genovefa. 1816. (The Grand Duke of Coburg.)
St. Elizabeth. 1826. (Naumburg Cathedral.)
Christ and his Disciples. 1830.
NAEUWINCX, (or Naiwinck,) Hendeik. The
birthplace of this Dutch painter and etcher is
uncertain ; but it was either Utrecht, or more
probably Schoonhoven, and the date of his birth
about 1619-20, as he was contemporary with Jan
Asselyn, who was bom in 1610, died in 1660, and
painted figures and animals in landscapes by
Naeuwincx; so that the pictures by him may have
been confounded with those of Asselyn. Immer-
zeel quotes very high prices as having been paid
for pictures by Naeuwincx, which consist of land-
scapes, towns, villages, etc. One in the style of
Waterloo, in which sportsmen are introduced, is
dated 1651. He is, however, more generally
196
known by his drawings and etchings, in which
the point is used with great delicacy. They are
rare, and were published in two sets of eight each ;
of which Nagler gives a full description. The
date of the death of Naeuwincx has not been
ascertained.
NAGEL, Jan, an unimportant Dutch painter of
the 17th century. He was born at Haarlem. He
imitated Cornelius Molenaer, and died at the Hague
in 1602 (?).
NAGEL, Peter, a Flemish engraver, who
flourished at Antwerp about 1569-84. He is said
to have been a pupil of Philip Galle, and he
engraved many subjects after Flemish masters.
Among other prints he has left, ' The Seven Works
of Mercy ' ; after M. Heemskerh
NAGLI, Francesco, called II Centino, an Italian
painter of the 17th century. He was bom at Cento,
and was a pupil of Guercino. Most of his active
life was passed at Bimini, where, in the Church of
Santa Maria degli Angeli, his best work is to be
found.
NAGTEGEL, Arnold, engraver. He worked in
1690, probably at Amsterdam. His name is alfixed
to prints in mezzotint, after portraits of Ishach
Aboab Rabin and of the English surgeon, Thomas
Sydenham.
NAHL, Johann August, one of a family of
artists, mostly sculptors, established at Ausbach.
He was born in 1752 at Channe, near Bern, on a
property belonging to his father, who gave him
his first instruction in art. As his taste inclined
rather towards painting than to sculpture, he
became a scholar of Tischbein at Cassel, then of
Tannesch at Strasburg, of the landscape painter
Bemmel, and of Handmann at Bern. At the age
of twenty Nahl went to Paris, and studied Le
Sueur BO ardently as to assimilate his style. In
1774 Nahl proceeded to Rome, where he passed
seven years in drawing from antiques, and copying
the works of Raphael and Guido. He there painted
his fine picture ' An OfEering to Venus,' one of his
richest and most highly-finished works. The
illness of his father induced him, in 1781, to re-
turn to Cassel, where, shortly afterwards, his father
died. Nahl did not remain long in that place, but
went to England. There he remained fifteen
months, and after visiting Holland, returned to his
native place. In 1786 and 1787 he was again in
Rome and Naples ; and in 1792 returned to Cassel.
There he became a. professor in the Academy, and
in 1815 ' Professor of Painting.' He died at
Cassel in 1825. Twice Nahl gained prizes given
by Goethe for pictorial composition. In 1799-
1800 by his ' Parting of Hector and Andromache,'
and, in 1801, by his ' Hercules at the Court of
Lycomedes.' Nahl's works include history, por-
traits, and landscapes. He also etched several
mythological subjects.
NAIGEON, Jean, a French historical and por-
trait painter, and relative of the French philosopher,
Jacques Andr6 Naigeon, who himself began life
as an artist. Jean Naigeon was a scholar of
Devosge, at the Dijon Academy, and of David.
His principal pictures are, ' The infant Pyrrhus
presented at the Court of Glaukias ; ' ' iEiieas going
to Battle ;' 'Numa Pompilius consulting the Nymph
Naigeon
PAINTERS AND ENGHAVERS.
Nannuccio
Egeria ; ' two bas-reliefs in the gallery of the
Luxembourg, being allegories (ere grisaille) of the
glory of Rubens and Le Sueur ; the design for the
Vignette engraved by Roger for the oflEcial docu-
ments of tlie Government of the French Republic.
He also painted theatrical decorations, and por-
traits of distinguished persons of the time, among
them Monge and Laplace. He -wss instrumental
in saving many works of art from destruction in
1793, and was conservator of the Museum of the
Luxembourg, and a member of the Legion of
Honour. He was bom at Beaune (Cote d'Or) in
1757, and died in 1832.
NAIGEON, Jean GniLLAUME Elzidob, a French
historical and portrait painter, born in Paris in
1797. He studied under his father, Jean Naigeon,
an-d also under David and Gros. He entered the
'Boole des Beaux Arts' in 1815, and having gained
the second grand-prize in 1827, went to Italy. In
1832 he succeeded his father as curator of the
Luxembourg Gallery. He died in Paris in 1867.
Amongst his works are :
The Magdalen in the Desert. 1836.
The Adoration of the Shepherds. 1845.
Gleaners near Naples.
The Vintage at Amalfi.
Several Portraits. {Versailles Gallery.)
NAIN. See Le Nain.
NAISH, William, an English miniature painter
of the 18th century. He was a native of Axbridge,
Somersetshire, and practised in London. He ex-
hibited at the Royal Academy from 1783 to 1800,
in which year he died. His brother, John Naish,
was also an artist.
NAIVEU. See Nevbu.
NAKE, GusTAV Heineich, a German painter of
history and portraits, who flourished between 1784
and 1834. Works :
Faust and Marguerite.
St. Elizabeth of Hungary distributing Alms.
NALDINI, Battista di Matteo, called Bat-
TiSTA Degli Innocenti, was born at Florence in
1537, and spent the greater part of his youth with
the superintendent of the Foundling Hospital,
He was first a scholar of Jacopo Carrucci,
but afterwards studied under Angelo Bronzino.
According to Baglione he visited Rome in the
pontificate of Gregory XIII., where he painted
several altar-pieces for the churches, and on his
return to Florence he was engaged by Giorgio
Vasari as his coadjutor in the works in which he
was employed in the Palazzo Vecchio, where he
was occupied fourteen years. His pictures of the
Purification and Entombment in Santa Maria
Novella, at Florence, are extolled by Borghini.
Other works of his are the ' Pieta ' over the tomb
of Michelangelo, and Adorations ' of the Shep-
herds,' and ' of the Magi ' in the Dresden Gallery.
He was living in 1590. Zani suppos'es that he
died about 1600.
NAMEUR, Louis de, a French historical painter,
was born in 1629, and received into the Academy
in 1665. None of his works can now be identified.
NANGIS, Genevieve. See under Rbgnadlt,
Nic. Fe.
NANI, Jacopo, (or Giacomo,) an unimportant
Italian painter, of the 18th century. He was em-
ployed at the Neapolitan Court, where he painted
landscapes, flowers, and fruit. Lanzi says he was
a scholar of Belvidere.
NANINI (Matteo). An obscure pupil of Carlo
Cignani.
NANNI, Giovanni, (or Nani,) called Giovanni
da Udine, Giov. de Nanis, and De Rbcamatori, of
the Embriverero, was born at Udine on the 15th
October, 1487, and having discovered an early
disposition for art, by making drawings from the
animals and birds killed in the chase byhis father,
Francesco Recamatore, he was sent to Venice,
where he was placed under the tuition of Giorgione.
The fame of Raphael had reached Venice, and
inspired Nanni with an ardent desire to visit
Rome. His protector, the patriarch Grimani, de-
sirous of promoting his wishes, furnished him with
letters of recommendation to Baldassare Castig-
lione, hy whom he was introduced to Raphael,
who admitted him into his school. He was there
employed in painting the ornamental accessories.
While he was in Raphael's studio the discovery
was made of the remains of antiquity in the baths
of Titus. Nanni was selected by Raphael to make
designs from the beautiful grotesques on stucco,
found in the difierent apartments. He not only
succeeded in his commission to the entire satisfac-
tion of his master, but discovered a process of
compounding a stucco, which had the same appear-
ance, and probably the same durability, as that
used by the Romans. He was now employed by
Raphael to execute the greatest part of the gro-
tesques in the Loggie and Stanze of the Vatican, a
commission he discharged so well as to link his
name indissolubly with that of his master. The
grotesques in the lower Loggia were entirely from
the brush of Giovanni, but in 1867 they were much
painted over by Mantovani. After the death of
Raphael he was employed by Clement VII., in con-
junction with Pierino del Vaga, to ornament that
part of the Vatican called La Torre di Borgia,
where they represented the Seven Planets ; the
emblematical figures were designed by del Vaga,
but the grotesques and symbolical decorations
were executed by Nanni. The festoons of the
' History of Psyche,' in the Famesina Palace, were
also by him, and he decorated the vestibule of
the Villa Madama, .now in ruins, and prepared
the designs for the windows of the Laurentian
Library. In 1627 he was compelled, by the sack-
ing of Rome, to fly from that city, and he took
refuge at Udine, where he was for some time em-
ployed. He was afterwards engaged at Florence,
by the family of the Medici, in several considerable
works. He returned to Rome in the pontificate of
Pius IV., and there he died in 1564. He was buried in
the Pantheon, near the tomb of his master Raphael.
NANNI, GiEOLAMO, was a native of Rome, and
flourished about the year 1642, during the pontifi-
cate of Sixtus v., by whom he was employed in
several considerable works. He was generally
known by the name of " poco e buono,' ' from the «
following circumstance. Being of a very studious
disposition, and rather slow in his operations, he
was reproached for his tardiness by Giovanni da
Modena, a contemporary artist, when he replied,
" Faccio poco e buono ; " and he bore that name
ever afterwards. His works are to be seen in
several of the public buildings of Rome. In the
church of the Madonna dell' Anima there is an
' Annunciation ; ' and in San Bartolomeo dell' Isola,
two subjects from the life of St. Bonaventura.
NANNUCCIO, or Nannoccio, was a Florentine
painter, and a pupil of Andrea del Sarto ; he
flourished about 1540. He went to France with
the Cardinal Tournon, and spent a large part of
his life there.
197
Nanteuil
A BIOGEAPHICAL DICTIONARY OF
ITaselli
NANTEUIL, Celestin Lebceuf, a French his-
torical and genre painter and lithographer, born at
Rome in 1813. He was bronght to France when
only two years old, and studied under J. M. Lang-
lois and Ingres. In 1829 he entered the !6oole des
Beaux Arts, but was expelled for heading a stu-
dent's disturbance. Much of his time was occupied
in illustrating books by Victor Hugo, Dumas, and
others, for which he made an immense number of
drawings. He obtained medals in 1837 and 1848.
In his later years he held the post of Director of
the Dijon Academy. He died in 1873. Amongst
his pictures are :
A Eay of Sunshine. 1848. ( Valenciennes Museum.)
The Temptation. 1851. (Havre Museum.)
Souvenirs of the Past.
Scene from Don Quixote. (Lille Musettm.)
Hunting-dogs reposing. (Luxembourg, Paris.)
The Fawn. (The same.)
His chief lithographs are :
The ' Bebedores ' ; after Velazquez.
The Studio of Yelazqnez ; after the same.
The Toper ; after Teniers,
Souvenirs.
Expectations.
NANTEUIL, Robert. This celebrated French
engraver and draughtsman in crayons, was bom at
Rheims about 162.3, according to the 'Mercure
Galant' of December 1678, or in 1630 as stated by
other authorities. There is an engraving by him
dated 1645, and it was not the first he did. He
was the son of a merchant, who gave him a classi-
cal education, but a decided inclination for the art
of design induced him to adopt it as a profession.
He was instructed in engraving by his brother-in-
law, Nicolas Regnesson, whose sister he married in
1647, and then went to Paris, where he received
further instruction from Abraham Boke and Phil-
lippe de Champagne. He acquired considerable
reputation as a maker of portraits in crayons, and
his talent in that branch recommended him to the
protection of Louis XIV., whose portrait he painted,
and after this was appointed designer and engraver
to the Royal cabinet, with a pension. In 1648 he
applied himself more to engraving in the style of
C. Mellan and others, but in 1650 he adopted one
infinitely superior, which in clearness and beauty
of efEect has never been surpassed. The portraits
by him will ever hold a rank among the most ad-
mired productions of the art. Nanteuil died in
Paris in December 1678, and it appears extra-
ordinary that in so short a life, if he was born in
1630, he could accomplish so many plates in so
finished a style. Mariette possessed two. hundred
and eighty prints by this artist. The following
are among his most esteemed portraits :
Anne of Austria, Queen of France ; aftei^ Mignard,
« Several Portraits of Louis XIV. ; from his oum designs,
and after Mignard, and others.
Xiouis, Dauphin ; son of Louis XIV. 1677.
Louis Bourbon, Prince de Condd : after Ids own design.
1662.
Henri Jules de Bourbon, Duke d'Bngheiu ; after Mig-
nard. 1661.
Christina, Queen of Sweden ; after S. Bourdon. 1654.
Louisa Maria, Queen of Poland ; after Juste. 1653.
Charles Emmanuel, Duke of Savoy. 1668.
Charles, Duke of Lorraine. 1660.
Johann Friedrich, Duke of Brunswick Luueburg. 1674.
Charles II., Duke of Mantua. 1652.
Antonio Barberini, Cardinal, and^chbishop of Eheims.
1663.
Emanuel Thfodore, Duke of Bouillon, Cardinal. 1670.
Leon le BoutheUier, Minister of State ; after Cham-
paigne. 1652.
198
Jules Mazarin, Cardinal. 1655.
Armand Jean du Plessis, Cardinal de Eichelieu ; after
Champaigns.
Henri de la Tour d'Auvergne, Viscoun t Turenne. 1665.
Fine.
Pompone de Bellievre.
Two Plates ; one after P. de Champaigns ; dated 1653.
The other, an oval, after C. le Brun. The latter is
one of Nanteuil's best engravings.
Robert Nanteuil was also a poet, and the verses
he addressed to Louis XIV., begging for more
time to finish his portrait, are graceful.
NANTO- See Denanto.
NAPOLETANO, II. See Angeli, Fil.
NAPOLI, Rosa da. See Rocs, Jac.
NAPOLITANO, Simone. See Bologna.
NAPPI, Francesco, was born at Milan about
1573, and after studying for some time both there
and at Venice, visited Rome during the pontificate
of Urban VIII. He was employed for some of the
public edifices at Rome ; but his works do not rank
above mediocrity. His best productions are, his
pictures of the ' Resurrection ' and the ' Assump-
tion of the Virgin,' in the cloister of Santa Maria
sopra Minerva; and the 'Annunciation' in the
Monasterio dell' Umilitk. He died in 1638.
NARCISO, JosI; Antonio, a Spanish painter of
the 18th century, no details of whose life are known.
NARCISSUS. See Pbrsijn.
NARDI, Angelo, was born at Florence about
1601, and after studying the works of Paolo
Veronese, visited Spain in the reign of Philip IV.,
whose court-painter he became in 1625, and whom
he assisted with advice in the purchase of Italian
paintings. He was a favourite of the Archbishop
of Toledo, and executed for him seven altar-pieces
for the Bemardin Nuns at Alcala de Heneares,
eleven for those at Jaen, and eight in the Atocha
Church at Madrid. Nardi died at Madrid in 1660.
NARDINI, ToMASO, an Italian painter, was bom
at Ascoli about 1658. He painted figures in the
perspectives of CoUaoeroni. He died in 1718.
NARDOIS, J. Galioth, a French painter of the
17th century. He is quoted in Nagler's ' Mono-
gramisten,' where he is said to have painted in the
style of Claude, and to have engraved some plates.
NARDUCCI, (or Narduck,) Giovanni, after-
wards ' Fray Juan de la Mi8eria,'an ItaUan painter,
was born in Molica about 1526. He acquired some
knowledge of painting in the Schools of Naples,
whence, being of a pious disposition, he made
pilgrimages to all parts of Italy, and at last left
his native country for the shrine of Santiago at
Compostella. Proceeding afterwards to Madrid,
he entered the school of Sanchez Coello, where his
piety recommended him to the devout sister of
Philip II. In 1560 he entered one of the reformed
Carmelite convents at Pastrana. There he painted
an 'Ecce Homo,' and two portraits of Santa Teresa
de Jesus. It is doubtful whether any of his works
still exist. He painted also portraits of St. Luis
Beltran and of Fray Nicolas Factor, the artist, of
Valencia. He closed a long life of devotion at
Madrid in 1616.
NASELLI, Francesco, was born at Ferrara, and
flourished about the year 1610. When young, he
studied the works of the Carracci and Guercino,
which he copied with surprising success, but after-
wards devoted himself to the manner of his coun-
tryman Giuseppe Mazzola. He was employed for
several of the churches in Ferrara. In the cathe-
dral there is an altar-piece by him, representing
the ' Nativity ; ' in the church of Santa Maria de'
Nash.
PAINTERS AND ENGRAVERS.
Nasmyth
Servi, a large picture of the ' Last Supper ; ' and
in the church of Santa Francesca, the ' Assumption
of the Virgin.' Naselli died at Ferrara about 1630.
NASH, Edward, an English miniature painter,
bom in 1778. He exhibited at the Academy from
1811 to 1820. In his later years he practised in
India, sending his works home to be exhibited.
He died in England in 1821.
NASH, Frederick, an English water-colour
painter and draughtsman, born in 1782 at Lambeth.
His instruction in art was due to Malton. His
works first appeared at the Academy in 1800, and
he occasionally exhibited there till 1847. In 1808
he was elected a member of the Water-Colour
Society, where he exhibited with some intermis-
sions till 1856. To show his facility and industry,
it may be stated that his contributions to the latter
Society amounted to nearly five hundred works.
He was also draftsman to the Society of Anti-
quaries, and made several tours in France, Switzer-
land, Germany, &c. In 1834 he retired to I3righton,
where he spent the remainder of his life, and died
there in 1856. There are water-colour drawings
by him of ' Tintern Abbey,' and the 'Versailles
Fountains,' at the Kensington Museum. Amongst
the works which he illustrated are :
' Views of St. George's Chapel, Windsor.' 1805.
' Twelve Views of the Antiquities of London.' ISIO.
Ackerman's ' History of 'Westminster Abbey.'
' History of the University of Oxford.' 1814.
' Picturesque views of the City of Paris and its Environs.'
1823.
NASH, Joseph, an English water-colour painter
and draughtsman, born in 1808. He became a
member of the old Water-Colour Society, where
he first exhibited in 1835. His forte, was the de-
piction of medieval buildings and scenes. He
published ' Architecture of the Middle Ages '
(1838) ; ' Mansions of England jn the Olden Time '
(1839-49) ; and ' Views of Windsor Castle ' (1848).
He also contributed illustrations to Lawson's
' Scotia delineata ' (1847) ; E. MacDermott's ' Merrie
Days of England' (1859); and 'Old English
Ballads' (1864); and he drew on stone Sir D.
Wilkie's ' Oriental Sketches. ' At the Paris Exhibi-
tion of 1855 he exhibited six water-colour draw-
ings, and was awarded an " honourable mention."
He died at Bayswater in 1878.
NASINI, Antonio, a brother of Guiseppe Nic-
colo, by whom he was trained in art. He after-
wards became a monk, and worked for the churches
of Siena. He died in 1716.
NASINI, Cavaliere Giuseppe Niccol6, was born
at Siena, probably in 1664. His father, Fran-
cesco Nasini, an artist little known, instructed him
in the first rudiments of art; but he afterwards
went to Rome, and became one of the ablest dis-
ciples of Ciro Ferri. By the recommendation of
this master he was employed by the Grand Duke
of Tuscany, to paint, from the designs of Pietro
da Cortona, the ' Four Ages of Man,' in emblem-
atical subjects, in the Palazzo Pitti at Florence. On
his return to Rome he was commissioned to paint
the ceiling of the Capella Bracoiana, in the church
de SS. Apostoli ; and his picture of the ' Prophet
Amos,' in the Basilico of St. John of Lateran. He
died at Siena in 1736. Among his pictures are :
Foligno.
ilfodmnadeZIg Leonardo.
Pianto. J
Kome. Chapel of S. An- ) rpj^^ Cupola.
Siena.
Conventuale. Death, Judgment, Heaven, and
Hell.
He etched a print of the Virgin and the Infants
Jesus and St. John in a landscape, with Cherubs
flying in the air, in the taste of Ciro Ferri, and also
engraved in the manner of P. S. Bartoli.
NASINI, Peancesco, an obscure painter of Siena,
who in the 17th century painted in fresco in the
refectory of the Monasterio del Carmine of that
city.
NASMYTH, Alexander, a Scotch landscape
painter, was born at Edinburgh in 1768. He went
early to London, and was a pupil of Allan Ramsay.
Afterwards he went to Rome, where he remained
several years, and studied historical painting,
landscape, and portraiture. On his return to Edin-
burgh, he commenced practice as a portrait painter,
and had Robert Bums as one of his sittters. His
portrait of the poet is now in the National Gallery
of Scotland ; a replica is in the National Portrait
Gallery, London. He was a member of the
original Society of Scottish Artists, and an Asso-
ciate of the Royal Institution. His inclination,
however, being towards landscape painting, he
ultimately confined himself to that branch ; but
much of his time was occupied in teaching, in
which he was very successful. He exhibited
landscapes occasionally at the Royal Academy in
London, from 1813 to 1826. In 1822 he published
sixteen views of places described in the ' Waverley
Novels.' He died at Edinburgh, April 10, 1840.
NASMYTH, Peter, commonly called by himself
and others, Patrick, was the son of Alexander
Nasmyth, and was born at Edinburgh in 1787. He
showed an early and decided predilection for land-
scape paintting ; and his zeal in pursuit of his
favourite art left him little opportunity of acquiring
any other instruction. Early in life he injured his
right hand, and learned to paint with his left, and
owing to an illness he became deaf. At the age of
twenty he went to London, and his productions
became very popular, obtaining for him the desig-
nation of ' the English Hobbema,' which was about
as well justified as such soubriquets usually are.
He improved on the style of his father, and his
pictures have less of the spotted chalky character
which, from its having been followed by several
other members of this clever family, is considered
as a chief feature of "the Nasmyth school." In
1809 he first exhibited at the Royal Academy, and
in 1824 he became one of the original members of
the Society of British Artists. He often painted
Scottish scenes, but the character of his landscapes
is entirely English. His style was not sufficiently
massive to represent properly the wild mountain-
ous character and striking atmospheric peculiar-
ities of Scotland. Light clouds, sunshine, smooth
water, or small pattering brooks, meadows, gently
rising grounds, and green trees, are the objects
which his pencil was best qualified to represent.
Nasmyth died at Lambeth, on the 17th of August,
1831, during a thunder-storm, which, at his own
desire, he was raised in his bed to behold. His
pictures are signed Pafi'. Nasmyth. Among
Nasmyth's better works we may name :
London. Nat. Gall. Cottage in Hyde Park.
„ „ The Angler's Nook.
„ „ Landscape with a furzy
common.
„ „ A Cascade.
„ „ A Country Boad.
„ „ Landscape with Kiver.
„ Lake Scene.
S.K.M. Sir Phillip Sydney's Oak,
Penshurst.
199
Naaocchio
A BIOGRAPHICAL DICTIONARY OF
Natoire
London. <S. K. M. Cottage by a Brook.
„ „ Rick-yard.
View of St. Albans.
Distant View of Edinburgh.
View of Windsor Castle.
A Hampshire Landscape. {T. Barincfs Collection^
NASOCCHIO, Giuseppe, a native of Bassano,
who painted in the style of the quattrocentisti,
but, according to Lanzi, left a picture dated 1529.
Two more artists of this name, Francesco and
Bartolommeo Nasocchio, were active in Bassano
in the 16th century.
NASON, PiETER, painter, was born early in the
17th century at Amsterdam, or The Hague. He
was a member of the Guild of Painters of the
latter place, and in 1666 was one of the_ forty-
seven members who established the ' Pictura '
Society. From a MS. by Pieter Terwesten, it
appears not improbable that Nason was a pupil of
Jan van Ravensteyn ; and it is believed that his
name has been effaced from pictures since at-
tributed to Mierevelt, Moreelse, and above all to
Ravensteyn. It is certain that he painted the
portrait of Prince Mauritz, Governor of the
Brazils, engraved by Houbraken, and those of
Charles the Second of England, engraved by C.
Van Dalen and Sandrart, and of the Grand
Elector. At Berlin there is a full-length portrait,
dated 1667, of the latter, by Nason ; also a fine
picture of still life, representing gold, silver,
and glass vessels, (fee. ; likewise a portrait by him
signed and dated 1670. There are others at
Copenhagen and at Rotterdam. The date of his
death is not known, but his life was long. Redgrave
gives the initial of his Christian name wrongly as R.
NATALE. See Schiavoni.
NATALI, Carlo, called II Guardolino, was
born at Cremona about the year 1590. He was
first a disciple of Andrea Mainardi, but afterwards
studied at Bologna, under Guido Reni. There are
several of his works at Genoa and Cremona, where
he also distinguished himself as an architect. One
of his best works, as a painter, is a picture of
'St. Francesca Romagna,' in the church of San
Gismondo at Cremona. He lived to above the
age of ninety-three, for he was still alive in 1683.
NATALI, Giovanni Battista, the son of Carlo
Natali, was born at Cremona about the year 1630,
and distinguished himself as a painter and en-
graver. After receiving some instruction from
his father, he went to Rome, where he entered the
school of Pietro da Cortona. On his return to
Cremona, he painted several pictures for the
churches, and established an academy in which he
cultivated the principles of Cortona, though with-
out many followers. In the church of the P. P.
Predicatori, is a large picture by him, embellished
with architecture, representing ' St. Patriarca burn-
ing the Books of the Heretics.' He died about
the year 1700.
NATALI, Giuseppe, was the head of a family
established at Casal Maggiore, in the Cremonese,
many members of which were employed in archi-
tectural and decorative painting. Giuseppe was
born in 1652, and died in 1722. His brothers
Francesco, Pibtbo, and Lorenzo worked with him.
His son Giambattista died young, and Francesco's
son of the same name, after being appointed court
painter to the King of Naples, died before the
middle of the 18th century. Giovanni Battista
Zaist, who wrote the memoirs of the painters of
Cremona, was a pupil of Giuseppe Natali.
NATALINOdaMURANO. SeeMuKANO.
200
NATALIS, MicHi-EL, was bom at Liege in 1606
or 1609, and first instructed in engraving by his
father, who was medallist to the Bishop, and by
Carl de Mallery. He afterwards went to Paris and
Rome, where he was introduced by Sandrart to
Prince Giustiniani, for whom, in conjunction with
Theodor Metham, Regnier Persyn, and others, he
engraved the antique statues in his gallery. In
1653 he was court-engraver to the Elector Maxi-
milian Heinrich at Cologne, and engraved in 1658
the portrait of the Emperor Leopold. He was
still alive in 1670. He engraved a few portraits,
which are among the best of his prints. We have,
among others, the following by him :
PORTRAITS.
Josephus Justinianus Benedioti Filius; Mich. Natalis
fee.
Jacob Catz, Pensionary of Holland, and Poet ; after d%
Bordieu.
Eugene d'Alamond, Bishop of Ghent.
MaximiliEin Emanuel, Elector of Bavaria ; after J. San-
drart.
Friedrich, Count of Merode.
Ernestine, Princess de Ligne ; after Van Bych.
The Marquis del Guasto, with his Mistress represented
as Venus ; after Titian.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after Raphael.
The Virgin and Infant Jesus, with St. Joseph seated
behind ; afterAndrea del Sarto.
The Holy Family ; after N. Foussin. The first im-
pressions are before the child was draped.
The Holy Family, with angels presenting flowers ;
after S. Bourdon.
The Virgin holding the Infant Chri.st, who is sleeping,
with St. John by her side ; after the same. The first
impressions are before the bosom of the Virgin was
covered.
The Assembly of the Carthusians ; in four sheets ;
after Bertholet Flemael.
Mary washing the Feet of Christ ; after Buiens.
The Last Supper ; after Biepevheech.
NATHE, Cheistoph, a landscape painter and
etcher, bom at Niederberlau in Upper Lusatia in
1753. He studied under Oeser at Leipsic, and
travelled in Silesia and Switzerland. Of his
etchings may be mentioned a collection of forty-
eight landscapes, heads, and portraits. He painted
in oils and water-colours, and made drawings in
sepia. Nathe died at Sohadewalde, near Marklissa,
in 1808.
NATKER, (or Notker,) a monk of St. Gall, who
painted miniatures in the 10th century.
NATOIRE, Charles Joseph, painter and en-
graver, was born at Nimes in 1700, He was
instructed by Louis Galloche and Lemoine. Having
obtained, in 1721, the first prize for painting, by
his picture of ' The mother of Samson ofiering
a sacrifice to God,' which is the oldest of the
competition pictures preserved in the Acad^mie
des Beaux Arts, he then went to Rome, where the
Academy of Saint Luke, having proposed the
subject of 'Moses delivering the Law to the
Israelites,' he gained the first prize. In 1751 he
became Director of the French Academy at Rome,
and, after he had painted the dome of the church
of Saint Louis des Franjais-, was, in 1756, made a
Knight of the Order of St. Michael. He retired in
1774, and died at Castel Gandolfo in 1777. His
best works as a painter are ' St. Sebastian, with an
Angel taking an Arrow from his body ; ' and the
fresco paintings (now much damaged) in the
chapel of Les Enfants trouv^s, engraved by
Desplaces, Fessaidj and others. His works are
Nattes
PAINTERS AND ENGEAVERS.
Navez
signed G. N., or with his full name. The Louvre
possesses the three following works from his brush :
Tenus demanding arms for .^ueas from Vvdcan.
The Three Graces.
Juno.
He etched the following plates, but most of the im-
pressions remaining of the ' Crucifixion ' and the
' Four Seasons ' have been finished with the burin :
The Crucifixion, with Mary Magdalene at the foot of
the Cross.
The Adoration of the Magi.
The Martyrdom of St. Fereol.
Two, of the Sports of Children.
Spring and Winter; etched by JVatoire, and finished
"with the biuin by P. Aveline.
His sister, Mademoiselle Natoiee, who went to
Italy with him, worked in pastel.
NATTES, John ClaudEj an English water-
colour painter, of the early tinted school, was born
about 1765. He studied under Hugh Deane, and
exhibited at the Royal Academy from 1782 to
1814. He joined the Old Water-colour Society
on its foundation in 1804, but was expelled in
1807 for exhibiting another man's diawings as his
own, in order to increase his share in the profits of
the exhibition. Among the illustrated works which
he published are :
Scotia Depicta. 1804.
Hibemia Depicta. 1802.
Select views of Bath, Bristol, Malvern, &c. 1805.
Bath illustrated. 1806.
NATTIER, Jean Baptiste, elder son of Jean
Marc Nattier, the elder. He was a painter of
history of small merit. Received into the Academy
in 1712, he became involved in a disgraceful scan-
dal, was committed to the Bastille, and there put an
end to his own life in 1726.
NATTIER, Jean Maec, commonly called Maec
Nattiee, was bom in Paris in 1642. He painted
some excellent portraits, and was the father and
first master of Jean Marc Nattier, the younger.
NATTIER, Jean Maec, son of the last-named
and of Marie Courtois, a distinguished miniaturist,
was born in Paris in 1685. He was instructed by
his father, and afterwards studied at the Academy,
and in the Gallery of the Luxembourg. He dis-
tinguished himself as a portrait painter, in which
capacity he was much employed. The drawings for
the engravings from the pictures painted by Rubens
for Marie de' Medici were by Nattier. About 1716
he accompanied M. Le Port, the minister of Peter
the Great, to Amsterdam, where the Czar then was.
There he painted the Czar, several members of
the Russian court, and a picture of the ' Battle of
Pultawa.' He afterwards began, at the Hague, a
portrait of the 'Empress Catherine,' which was
never finished. In 1718, Nattier was received into
the Paris Academy on {he strength of a ' Perseus
bringing the Medusa's head to the marriage feast
of Phineus.' In 1720, having lost his accumu-
lations through the schemes of Law, he resolved
to confine himself to portraiture, which he prac-
tised with success for the rest of his life. He died
in Paris in 1766. His life, by Madame Torgal, his
daughter, has been published. Among his pictures
we may also name :
Dresden. Galle/ry. Portrait of Marshal Saxe.
Nantes. Gallery. Portrait of the famous dan-
seuse, M. A. Cuppi, called La
Carmargo.
„ „ A Lady of Louis XV.'s Court
(portrait).
Paris. Louvre. The Magdalen.
NAUDET, Thomas Charles, a French landscape
draughtsman, and pupil of Hubert Robert. He
flourished between 1774 and 1810.
NAUDI, Angblo, an obscure Italian of the 16th
century, who imitated the style of Paolo Veronese,
and was employed at the court of Philip IV.
NAUMANN, Feiedeich, was bom at Blasewitz,
near Dresden, in 1750, and studied five years
under Casanova at the Academy there. He then
went to Venice, and stayed seven years at Rome,
where he was a disciple of Mengs. He studied
principally the works of Raphael, Guido Reni,
and Titian. The Margrave of Anspach appointed
him his court-painter ; and he was also a member
of the Academy at Berlin. There is by him,
besides 'The Hermit,' and ' The portrait of Mengs '
(engraved byCunego), an altar-piece in the Krerz-
kirche at Dresden. F. Naumann was alive in 1815.
NAUBORGO, Michael, a Bolognese painter,
who, it is believed, was a pupil of Guido Reni.
NAUINX, or Navinx, a landscape painter, who
lived at Hamburg in the 17th century, and who is
often confounded with Naeuwincx or Nauwincl;.
He painted Alpine scenery in his larger works.
In the smaller, more tranquil scenes somewhat in
the style of Waterloo, but his colouring runs into a
bluish green, or into grey. J. M. Weyer painted
figures for him in good keeping with his landscapes.
He died in Hamburg, but the date is uncertain.
NAVA, Ldis he, a Spanish knight of Santiago,
who practised art as an amateur about 1753, and
was a member of the Seville Academy.
NAVARO, Juan, a Spanish engraver, is stated
by Strutt to have resided at Seville about the
year 1698. He engraved several frontispieces for
books.
NAVARRETE. See Fbenandez Navaeeete.
NAVARRO, Feancisco, a Spanish engraver, who
executed the title-page and a large plate of arms,
for a descriptive account of an auto-da-fe held at
Madrid in 1632, and the title-page of a book
called 'The Church Militant,' pubHshed by Fray
Fernando Carmayo y Salgado in 1642. In the
same year he engraved an architectural title-page
with the effigies of Horace, Persius, and Juvenal
arranged like saints in a retablo, for Don Diego
Lopez's ' Dissertation ' on the two latter satirists.
NAVARRO, JnAN Jose, a Spanish admiral who
practised painting and designing, was born in 1687.
He executed some very clever pen-and-ink draw-
ings in the style of Callot.
NAVARRO, Joan Simon, an historical and
flower painter, lived at Madrid about the middle
of the 17th century. A somewhat mediocre
historical picture by him bears the date 1654,
and represents the Virgin, of the size of life,
employed in the workshop of Joseph, who is
sawing a board, while the Infant Jesus is forming
a cross in the midst of a group of angels. As
a painter of flowers he holds a more respectable
rank. In the convent of the Shod Carmelites
at Madrid, are a ' Nativity ' and an ' Epiphany '
by him, which were formerly in the convent
of the same order at Valdemoro.
NAVEZ, FEANgois Joseph, a Belgian historical,
genre, and portrait painter, born at Charleroi in
1787. He first studied under Joseph Francois,
and obtained several prizes at the Brussels and
Ghent Academies. He was thus enabled to com-
plete his studies in Paris under David, with whom,
when exiled from France, he returned to Belgium.
From 1817 to 1822 Navez was at Rome, and snbse-
201
A BIOQEAPHICAL DICTIONARY OF
Navois
quently settled at Brussels. There his fame was
already well established, and he was much em-
ployed. During many years he held a foremost
position among Belgian artists, and was Director
of the Brussels Academy. Many pupils passed
through his studio, and honours were freely be-
stowed on him. He died at Brussels in 1869.
Among his works are :
Amsterdam. Jesuits' Ch. Incredulity of St. Thomas.
„ The Holy Family.
^, „ The Marriage of the Virgin.
Brussels. Museum. Hagar and Ishmael In the
Desert.
„ Athaliah and Joash.
' „ The Judgment of Solomon.
" „ The Kich Man before Christ.
" St. Gudule. The Assumption of the Virgin.
^, „ The Raising of J^azarus.
Haarlem. Pavilion. Eaising the Shunamite's Son.
„ The Meeting of Isaac and Re-
becca.
Munich. JVewFinakothek. ' Spinsters ' of Fondi.
NAVOIS, J. S., who lived in the second half of
the 17th century, was a painter of landscapes and
marines in the manner of Bakhuisen. His paint-
ings have often been confounded with the works
of that master.
NAYS, — , was a Flemish landscape painter who
lived towards the end of the 17th century. In
some of his pictures, which are very numerous in
Belgium but of small merit, the figures are painted
by Nicolay.
NAZZARI, Baetolommeo, (or Nazari,) was born
at or near Bergamo in 1699, and was first a scholar
of Vittore Ghislandi and Angelo Trevisano at
Venice. Afterwards he studied at Rome under
Francesco Trevisani, and then settled at Venice.
He was a painter of history and portraits, but
particularly excelled in the latter, in which he
was much employed at the difi'erent courts in
Germany. One of the most esteemed of his his-
torical pictures is a ' Holy Family, with St. Anne,'
at Pontremoli. He died at Venice or Milan in
1758. He etched the portrait of F. M. Molza, at
Modena. Bartolozzi and A. Faldoni have engraved
after him.
NEAGLE, John, an English line engraver, born
in London about 1760. Amongst his plates are :
The Eoyal Procession to St. Paul's. 1789. '
Several plates for the Shakespeare Gallery; after
Wheatley and Smirke.
The illustrations to Murphy's ' Arabic Antiquities of
Spain.' 1816.
NBAL, Elizabeth, a still-life painter of the 18th
century. It is said that she lived in Holland, and
painted fllowers which rivalled those by Seghers.
None of her works, however, can be identified.
NEALE, John Preston, a very eminent English
architectural designer and engraver, was born in
1771. His father is believed to have been a painter
of insects. He himself began his career as a clerk
in the Post OfBce, but he soon left clerical work
for topographical draughtsmanship. He painted a
few works in oil, but his favourite method was to
draw with the pen and finish with washes of water-
colour. In 1818 he published the first portion of
the ' History and Antiquities of the Abbey church
at Westminster,' and in 1823 the second part, form-
ing together two volumes royal quarto, containing
sixty-one beautiful engravings. The literary part,
consisting of notices and Biographical Memoirs of
the Abbots and Deans of that foundation, was
written by E. W. Brayley. Together with the
202
Nebbia
second portion of this work, he published six
volumes, royal quarto, of ' The Seats of Noblemen
and Gentlemen of England, Wales, Scotland, and
Ireland ; ' and in 1829 a second series in five vols.,
containing, in the whole, seven hundred and thirty-
seven plates. The labour of producing two such
important works in the period would have been
sufficient employment for the most industrious de-
signer ; but Neale was indefatigable. During the
years 1824 and 1825 he published, in conjunction
with Le Keux, ' Views of the most interesting Col-
legiate and Parochial Churches of Great Britain,
including Screens, Fonts, Monuments. &c., with
historical and architectural descriptions, containing
ninety-eight plates, in which the talents of both
artists appear to the greatest advantage. He was a
frequent exhibitor between 1797 and 1844. In the
earlier part of his artistic career he painted many
architectural subjects in oil, with views of their
several localities, in which he exhibited the feeling
and power of a true landscape painter. A larger
number of his works were, however, in water-
colours, and in 1817 and 1818 he exhibited at the
Water-colour Society. But the success that at-
tended his publications induced him to abandon, the
palette altogether, and devote his energies and
skill to a class of work in which he particularly
delighted, and in which, for a long time, he stood
unrivalled. Many detached pieces were designed
and executed by him for the embellishment of
other publications. He died near Ipswich in 1847.
NEALE, Thomas, was an English engraver, who
flourished about the year 1650. He is supposed
to have been a disciple of Hollar. He engraved
after him twenty-four subjects from Holbein's
' Dance of Death,' the first of which is marked,
Paris, 1657. He signed his prints with his name
in full, or with the letters T. N. He etched
several plates of birds after Barlow ; these were
executed at Paris in 1659. It is very probable, too,
that he engraved some of the plates for the eighth
edition of Ogilby's ' ^Esop.'
NEALKES, one of the later painters of ancient
Greece, lived probably at Sicyon about 262 B.C.
He is regarded as the principal representative of
the later Sicyonian school. He is said to have
possessed a lively genius, and an accurate judg-
ment. Being engaged to paint a picture of a
combat between the Persians and Egyptians on
the Nile, and being apprehensive that the river
might be mistaken for the sea, he introduced a
mule drinking on the border of the Nile, and a
crocodile ready to attack it, thus rendering the
scene of the action quite unmistakable I
NEAPOLI, Feancisco, a Spanish historical
painter, was born at Madrid in the 15th century,
and is supposed, from the style of his works, to
have been a scholar of Leonardo de Vinci. In
conjunction with Pablo de Aregio, it is said that
he painted the doors that enclose the great altar of
the cathedral of Valencia. They represent scenes
from the life of the Virgin Mary. This work was
finished in 1506, and for it the artists received
3000 ducats. Neapoli was the founder of the
Valenoian school.
NEBBIA, Cesare, was born at Orvieto about
the year 1536, and was the ablest scholar of Giro-
lamo Muziano, whose style he adopted, and whom
he assisted in the works he executed for Gregory
XIII., in the Vatican and the Capella Gregoriana.
He was himself employed by Gregory's successor,
Sixtiis v., in superintending the works undertaken
Nebea
PAINTERS AND ENGRAVERS.
Neflf
by order of that pontiff in the palaces of St. John
Lateran and Monte Cavallo, in the library of the
Vatican, and at the Soala Santa, in which he was
assisted by Giovanni Guerra da Modena. He
painted several pictures for the churches in Rome,
of which the most important are the ' Resurrection,'
in San Giacomo degli Spagnuoli ; some subjects
from the life of the Virgin, painted in fresco, in
the Capella Borghese, in Santa Maria Maggiore ;
and the ' Crowning of the Virgin,' in Santa Maria
de' Monti. He died at Rome about the year 1614.
NEBEA, Galeotto, the author of two altar-pieces
in the church of S. Brigida, at Genoa. He was a
native of Castellaccio, near Alessandria, and the
two pictures in question are dated respectively
1481 and 1484.
NEBOT, B., painted the portrait of Captain
Thomas Coram, the founder of the Foundling Hos-
pital, which was in the possession of D. Nesbit,
and engraved by Brooke in 1751.
NECK, Jan van, was born at Naarden in 1636.
He was the son of a physician, who destined him
for his own profession, but yielded to the marked
disposition his son evinced for art, and placed
him under the tuition of Jacob de Backer, whose
style he followed with great success. Houbraken
speaks of his talents as an historical painter in the
most flattering terms, and particularly commends
a picture by him representing the ' Presentation in
the Temple,' in the French church at Amsterdam.
He was still more successful in painting fabulous
subjects, and was also an eminent portrait painter.
He resided chiefly at Amsterdam, where he died in
1714. The following works by_him have been
engraved :
Alpheus and Arethusa \ h/ A. Blocteling.
The Bath of Diana ; hy the same.
The portrait of the theologian, Groeuweyen ; hy C.
Scujens.
NECKER. See Db Neckek.
NEDEK, PiETEB, born at Amsterdam in 1616,
was a scholar of P. Lastman, and a painter of his-
tory^^^portraits, and landscapes. He died in .1678.
NEE, Denis, a French engraver, was bom in
Paris about the year 1732, and died in 1818. He
was a pupil of J. P. le Bas, has engraved several
plates in the style of that artist, and first brought
himself into notice by a new edition of the ' Recueil
des Peintures antiques ' of Caylus and Mariette.
Among others, he executed several vignettes for
Ovid's Metamorphoses, published in Paris, and en-
graved several landscapes after A. Van de Velde
and other Dutch masters. In conjunction with
Masquelier he engraved ' Les Tableaux pittoresques
de la Suisse ' and ' Le Voyage pittoresque de la
France.' He left some fifty-two plates, including
the following :
The Massacre of St. Bartholomew ; 'after Gravelot.
Three Views in Martinique; after the Chevalier
d' Epemay. .
Benjamin franklin ; after Charmontel.
A View of the City of Lyons ; after Lallemand.
The Environs of Frascati ; after the same.
A View of Tivoli ; after the same.
NEEFPS, (misspelt Neefs, Neef, and Nefs,)
Jacobus. This Flemish engraver, a member of a
large family of artists, was born early in the 17th
century. He was probably the grandson of the
elder Pieter Neefis, the painter, and distinguished
himself by the plates he engraved after Rubens,
Van Dyck, and the other celebrated painters of
the Flemish school. His works, which are dated
from 1632 to 1646, are principally executed with
the burin. The year of his death is not known.
The following are some of his best plates :
PORTRAITS.
Gaspar Nennius, Bishop of Antwerp; after Gerard
Segers.
Gio. Tollenario, Jesuit ; after P. Fruytiers.
Frans Snyders, Painter ; after Van Byck.
Anthonis de Tassis, Canon of Antwerp; after the
same.
The Marchioness of Barlemont, Countess d'Egraont;
after the same.
Josse de Hertoghe ; after the same.
Martin Eyckaert, Painter ; after the same.
SUBJECTS AFTER VARIODS MASTERS.
The Fall of the Angels ; after Bubens.
The Meeting of Abraham and Melchizedek ; after the
same.
The Crucifixion, with the Virgin and St. John ; after
the same.
St. Augustine ; after the same.
The Martyrdom of St. Thomas ; after the same.
The Judgment of Paris, and the Triumph of Galatea,
called the Ewer of Charles I. ; after the same ; scarce.
Christ and the Six Penitents ; after Gerard Segers.
Job and his "Wife ; after the same.
The Martyrdom of St. Lievin ; after the same.
Christ appearing to Magdalene ; after the same.
Christ brought before Pilate ; after J. Jordaens.
The Satyr, with the Peasant blowing Hot and Cold ;
after the saTtie.
St. Eoch interceduig for the Persons attacked by the
Plague ; after Erasmus Quellinus.
NEEPFS, Pieter, the elder, was born at Ant-
werp in 1677 or 1578. He was the scholar of
Hendrik van Steenwyck the elder. He painted
the interiors of- the churches in Antwerp and its
neighbourhood, often introducing candle-light
effects. His mechanical skill was great, but his
hand was heavier than that of Steenwyck, and his
colour less pleasing. The figures in his pictures
were painted by P. Francken, Van Thulden,
Teniers, and Velvet Breughel. Neeffs died between
1657 and 1661. Many of his best pictures are in
England, but the museums of Paris, Amsterdam,
Rotterdam, Brunswick, Cassel, Munich, Geneva,
Vienna, and St. Petersburg are also rich in his
works.
NEEPFS, Pieter, the younger, the son and
scholar of Pieter Neeffs the elder, was born at
Antwerp in 1601, and died after 1675. He painted
similar subjects to those of his father, but they- are
greatly inferior, both in the neatness of the finish-
ing and the correctness of the perspective. Several
of his paintings are in the possession of the Mar-
quis of Hertford, and others at the Hague, in the
Vienna Academy, and the Liechtenstein Gallery.
NEEL, ScHEELEN. See Molenaer, Corn.
NEELE, Samuel John, an English engraver,
who was born in 1758, and died in 1824. His em-
ployment was principally illustrating antiquarian
works and engraving maps ; but he contrived to
do well for himself in a pecuniary sense.
NEER. See Van dee Nebr.
NEES. See Nes.
NEESSA, Alonzo de, a Spanish painter born in
the neighbourhood of Madrid in 1628. There are
pictures by him in the Monastery of the Observ-
ants in that city. He died in 1668.
NEFP, TiMOTHEUS Carl von, a Russian painter,
born in 1805 at Korkulla, in Esthonia. He studied
at Dresden under Hartmann, and at Rome. In
1826 he returned to Russia and settled at St. Peters-
burg. He became court painter in 1832, and in
203
ITegker
A BIOGEAPHICAL DICTIONARY OP
Nelll
1839 a member of the Academy, in which he was
appointed professor in 1865. From 1842 he was
much employed on the decorations of St. Isaac's
Cathedral, and his picture of the patron saint there
is one of his best works. Many members of the
Imperial family sat to him for their portraits. He
died at St. Petersburg in 1877. Some of his works
recall those o£ Leopold Robert. At the Hermitage
there are the following by him :
La Baigneuse. 1858.
Two Girls in a Grotto.
1859.
NEGKER (Necker). See De Necker. _
NEGRE, Matthieu van, was an historical and
architectural painter, who lived about 1620 or
1630. In the cathedral of Toumay there is a ' Holy
Family' by him, with a glory of angels, dated
1623. Descanips mentions him, but there are no
particulars of his life.
NEGRE, Nicholas van, an excellent Flemish
portrait painter ; perhaps the son of Matthieu. He
flourished about 1645. Snyderhoef engraved his
portrait of Salmasius in 1641 ; C. van Dalen that of
Spanheim in 1644 ; and there are other plates after
his work.
NEGRI, GiANFRANCEsco, also called Francesco
db' Ritratti, from the excellence of his portraits,
was born at Bologna in 1593. He was instructed
by Odoardo Fialetti at Venice, and was the founder
of an academy of arts, called Degl' Indomiti, in his
own house. He was also a poet, translated parts
of Tasso's works into the Bolognese dialect, and
wroie other books. His elde t son Pietro Negri
painted in the style of his instructor Zanchi. There
is by him in the Gallery at Dresden, ' The Death
of the Empress Agrippina in the presence of
Nero.' He died at Bologna in 1659. His son
Bianco, who was a Canon of St. Petronio, and an
author, also painted.
NEGRI, Pier Martire, was a native of Cremona,
and flourished about the year 1600. According to
Zaist, he was a disciple of Giovanni Battista Trotti,
and distinguished himself as a painter of history
and portraits. He afterwards studied at Rome,
and was received into the Academy of St. Luke.
Pictures by him exist at Cremona and Pavia.
NEGEON, LuoiAN Carlos db, a Spanish genre
painter, who flourished about 1660. He was one
of the founders of the Seville Academy.
NEGRONE, (or NIGRONE,) Pibtro, a native of
Calabria, was bom about the year 1600. Accord-
ing to Dominici, he was a disciple of Giovanni
Antonio d'Amato, and also studied under Marco
Calabrese. At Naples, in the church of Santa
Maria Donna Eomata, are two pictures by him,
representing the 'Adoration of the Magi,' and the
' Scourging of Christ,' painted in the year 1641 ;
also in the church of Santa Agnello a picture re-
presenting the Virgin Mary and Infant Christ in
the clouds, with a glory of angels, and below St.
Catharine, St. Jerome, and St. Onofrio. Negrone
died in 1565. He was sometimes called ' II giovane
Zingaro,' the young gipsy.
NEGRONI. See Neronl
NEGEOPONTE, Fea Antonio an early Venetian,
and contemporary with Jacobello del Fiore. In
the church of San Francesco della Vigna, Venice,
there is a colossal 'Virgin in adoration' by him
which is inscribed " Frater Antonius da Negropon
pinxit," so that Boschini and Sansovino are mis-
taken in calling him Fra Francesco. To Fra
Antonio Crowe and Cavalcaselle also ascribe tenta-
204
tively a ' Madonna ' at Legnano, in the oratory of
the Disciplina.
NEHER, Joseph, a decorative painter, born at
Buchan in Wurtemburg in 1788. He painted at
Stuttgart, and must not be confounded with an
artist of the same name, the father of Michael
Neher.
NEHER, Michael, was born at Munich in 1798,
and the son of Joseph Neher, a citizen and painter
of that city, but of a family from Biberach.
Michael received a classical education, and was
instructed in the rudiments of painting by Mitterer,
and in 1813 entered the Academy at Munich.
From 1816 to 1818 he studied nnder Matthias
Klotz, and was then employed by Angelo Quaglio
in his theatrical work. After having worked for
some time as scene-painter at the Court Theatre,
he went to Trent, Milan, and Trieste, and painted
portraits. In 1819 he was encouraged by Hieronj--
mus Hess, at Rome, to devote himself to genre
painting. On his return to Munich in 1823 he
became Conservator of the Art Union. In 1839
he painted several saloons in the Hohenschwangen
Schloss, after sketches of Sohwind, Gasner, and
Schwanthaler. He, however, in 1837 devoted him-
self entirely to architectural painting, and travelled
for improvement on the Rhine, and in Belgium.
He was received an honorary member of the
Academy at Munich in 1876, and died there in the
same year. His best performances are the following
views :
The Cathedral of Magdeburg.
The Minster at Fribourg.
The Town-hall and St. Peter's Church at Lowen.
The Cathedrals at Frankfort, Prague, and Mecblin.
NEHRLICH. See Neely.
NEIDLINGER, (or Nbydlingek,) Michael, a
painter of Niirnberg, and a pupil of G. Strauoh,
and at Amsterdam of J. de Backer, He went into
Italy and lived long at Venice, where he painted
for the Monasterio di Santa Anna ' The Apparition
of Jan Lorenzo Giustiniani ; ' and there are other
pictures by him in that city. Neidlinger died at
Venice in 1700.
NEIJN. See Db Neyn.
NEIJTS, GiLLis. See Neyts.
NELLI, Niccol6, was a native of Venice, and
flourished about the middle or latter half of the
16th century. From the style of his engraving
he is supposed to have been a disciple of Marco
da Ravenna. He engraved an architectural fron-
tispiece, with figures, for a book of plans and
views of cities and fortresses, published in 1568
(it is inscribed Nicolo Nelli Venezianof-), also other
subjects and portraits.
NELLI, Ottaviano di Martino, (or De Martis,)
was the son of Martino Nelli of Gubbio, and
flourished at the commencement of the 15th cen-
tury. In the church of Santa Maria Nuova at
Gubbio is preserved under glass a fresco repre-
senting the Madonna and Saints, which is signed
and dated M.C.C.C.CIII., Morelli says IV., and has
been chromolithographed and published by the
Arundel Society. He also worked for Gian Gale-
azzo, Duke of Milan, at Perugia in 1403-4, and
moved to Urbino in 1420 ; his death took place
between 1445 and 1450. The chapel of the Palace
of Corrado de' Trinci, now called the Palazzo del
Governo, was decorated by him in 1424, and the
work-can still be seen at Foligno.
NELLI, PiETRO, was born at Massa in 1672, and
was instructed by Morandi, whose style he imitated
Nelli
PAINTERS AND ENGRAVERS.
Nesfleld
in his paintings for several churclies at Borne.
Ko was alive in 1730, and distinguished himself
greatly as a painter of portraits, among which
are :
Cardinal Lodovico Pico Ungraded h/ Frey).
Andrea Giuseppe Bossi (engraved by Billy).
Bishop Giovanni Francesco Tenderini {engraved hy Gio-
vanni Rossi).
NELLI, Suor Plautilla, alady of anoble family,
was bom at Florence in 1523, and probably in-
structed by Fra Paolino of Pistoja. She became
in 1537 an inmate, and afterwards prioress, of the
Dominican convent of St. Catherine at Florence,
and painted for their church a 'Descent from the
Cross,' which is said to have been from a design
by Andrea del Sarto, and is probably the same as
that now to be seen at the Florence Academy ;
also a picture of the ' Adoration of the Magi.' In
Vasari's time a large collection of drawings by
Fra Bartolommeo was in her possession, and at
Dresden is a drawing by her of ' St. Anthony
tempted by a beautiful woman,' which appears
to bo an imitation of the Frate's work. She died
in 1688. There are by her :
Berlin. Mag. of Mus. A painting of 1524.
Florence. Academy. A Descent from the Cross.
„ S. M. Novella. A Last Supper.
NELLO DE DINO, an unimportant Tuscan painter
of the 14th century. He was a friend of Bufial-
macco.
NELLO Di Giovanni FALCONE, Bernardo, a,
painter of the 14th century, who is known by
report only, as no authentic work by him is in
existence. He studied under Orcagna, and painted
much in Pisa, in the cathedral and in the Campo
Santo, where there is a fresco said, by some, to be
by him. Lanzi says he is supposed to be the same
artist as Nello di Vanni.
NENCI, Francesco, was born about 1782, and
studied at the Academy at Florence. He at first
painted portraits, but abandoned that branch of
art for historical painting. His chief performance
is at Florence in the Villa Poggio, and represents
the 'Assumption of the Virgin.' In 1821 he made
a series of designs for Dante's ' Divina Commedia.'
He was for a time director of the Academy at
Siena.
NEPVEU, Laurens Thbodoe, was born at
Utrecht in 1782. He was a politician, and only
practised painting as an amateur. His master in
art was B. van Straaten. Nepveu_died in 1839.
NERANUS, A., painter, flourished about the
middle of the 17th century, and imitated the
manner of Rembrandt. In Cardinal Fesch's col-
lection there was a picture by him representing
'Pilate washing his hands.'
NEEBNZ, WiLHELM, genre painter, was born
at Berlin in 1804, first studied under Wilhelm von
Schadow, until the removal of the latter to Diissel-
dorf . In the next year he was employed as picture-
restorer in the Royal Museum, but in 1833 followed
his master, von Schadow, to Diisseldorf , where he
remained three years. He then returned to Berlin,
where he resided for the remainder of his life, with
the exception of a short time in Dresden and Italy.
He died at Berlin in 1871. Of his works may be
mentioned :
Berlin. Nat. Gallery. At the Armourer's. 1840.
The Goldsmith's Daughter (from, Uhland).
Kathchen von Heilbronn {from Kleist).
The end of the Wanderj&hre.
NERI, Giovanni, called Neri degli Uccelli, a
Bologuese artist, celebrated for his paintings in
miniature of animals, birds, and fishes. Ulysses
Aldrovandi had seven books full of his works.
He died in the year 1575.
NERI, Paolo del Maestro. See Paolo.
NERI DI BICCI. See Bicoi.
NERITO, Jaoopo di, lived early in the 14th
century. He was probably born at Padua, and
a pupil of Gentile da Fabriano. According to
Rossetti, he painted a ' St. Michael and Lucifer '
of gigantic proportions, once in the church of
San Michele, Padua. In the Communal Gallery
of that city there are some panels by him. No
dates can be given of his birth or death.
NERONI, Babtolommeo, or Negroni, called
Maestro Riccio, was a native of Siena, and flour-
ished from 1550 to 1573. He was a pupil, and
afterwards son-in-law and assistant, of Bazzi
(Sodoma). He painted history, but was more
celebrated for his perspective and architectural
views. At the Osservanti at Siena is a Gracifixion,
with a great number of figures ; and in the church
of the Derelitte, a ' Descent from the Cross,' which
is painted entirely in the style of his master. Two
large paintings by him in the Academy of that
city are Florentine in style. He was also dis-
tinguished as a sculptor, architect, and painter of
scenery. One of his scenes has been engraved by
Andreani.
NERROCCIO Di BARTOLOMMEO. See Landi.
NERVESA, Gaspaeo, painter, a native of Friuli,
and, according to Ridolfi, a pupil of Titian. No
picture by him can now be pointed out, but he is
known to have painted at Spilimbergo, and perhaps
at Trevigi, about the middle of the 16th century.
NES, Jan Van, (or Nees,) was born at Delft
probably about the year 1600, and was one of the
best scholars of Michiel J. van Mierevelt. He
travelled in France and Italy, and studied some
time at Rome and at Venice. On his return to
Holland he painted some historical pictures, which
were deservedly admired ; and he would probably
have distinguished himself in that branch of the
art, had not the general demand for his portraits
induced him, for the sake of emolument, to devote
himself entirely to them. The date of his death
is uncertain, but he is said to have worked as late
as 1670.
NBSBITT, Charlton, an English wood-engraver,
born in 1775, at Swalwell, Durham. He was
apprenticed when fourteen to Beilby and Bewick,
and gained two premiums at the Society of Arts.
Specimens of the work done by him while with
Bewick are to be found in the tail-pieces of ' British
Birds,' and in the edition of Goldsmith and Par-
nell of 1795. At the end of his apprenticeship he
engraved a block 15 inches by 12 from a drawing
by his fellow-pupil Robert Johnson. About 1799
he moved to London, where he obtained an ex-
tensive practice. Among the works he illustrated
were editions of ' Hudibras' and of ' Shakespeare,'
Sir Egerton Bridges' works, Ackerman's ' Re-
ligious Emblems,' Northcote' s ' Fables,' &c. From
1815 to 1830helived at Swalwell, and then returned
to London. He died at Brompton in 1838.
NESFIELD, William Andrew. This artist,
the father of the well-known architect of the same
name, was the son of the rector of Brancepeth,
and was educated at Winchester, and at Trinity
College, Cambridge. He entered the army a,t Wool-
wich in 1809, served in the Peninsula under Wel-
206
Neto
A BIOGRAPHICAL DICTIONARY OF
Netscher
lington, and was afterwards aide-de-camp to Sir
Gordon Drummond in Canada. On retiring from
the army he devoted his talents to painting in
water-colours, and was elected an 'associate ex-
hibitor of the Society of Painters in Water-colours
in 1828. The following year he became a member
of the Society and one of its most constant con-
tributors. A drawing of ' Bamborough Castle ' at
South Kensington is a good example of his style.
Later in life he gave his chief attention to land-
scape gardening, and many of the improvements
in the Horticultural Gardens at South Kensington,
Kew Gardens, and in St. James's Park are due to his
sldll. He died in 1881, at the age of 87, in London.
NETO, EsTBVAO GoNSALVES, a Portuguese archi-
tect and painter in miniature. Nothing is known
of his birth, but he was chaplain to the Bishop of
Vizen and a canon in 1622. A missal, beautifully
illuminated by him between 1610 and 1622, is pre-
served in the Academy of Sciences at Lisbon. He
died the 29th of July, 1627.
NETSCHER, Caspab, was born at Heidelberg
in 1639, and died at the Hague in 1684. His
father was a sculptor, and an engineer in the Polish
service, who died in Prague when he was only two
years of age, leaving a widow with three children,
of whom Caspar was the youngest. The calamities
of war obliged her to fly from Germany, and make
the best of her way towards Holland. Two of her
children died on the road, and she arrived at Arn-
heira in Guelderland in a state of the utmost
destitution. There an opulent physician, named
TuUekens, took pity on her, and adopted the young
Netscher. He educated him with the intention
of his following the medical profession, but his
genius strongly inclining to the art of painting, it
was judged best to give way to it ; he was in con-
sequence placed under Koster, a painter of dead
game and still-life, but he did not remain long
with him, as these were not subjects suited to his
powers. He became a disciple of Gerard Terburg,
and his progress under that master was great. On
leaving Terburg, he determined to visit Italy, and
with that intention embarked at Amsterdam for
Bordeaux, where he was induced to remain some
time, by the encouragement he received as a painter
of portraits, as well as by an attachment he conceived
for Marie Godin, the niece of the person at whose
house he lodged. They were married, and this
union preventing his proceeding to Italy, he re-
turned to Holland, where his talents promised him
a more certain success. The pictures of Netscher
usually represent domestic subjects and conversa-
tions, which are treated in a style reminding us
of the productions of Frans Mieris and Terburg.
His handling is a little woolly and wanting in life,
but like his master, he particularly excelled in
painting white satin, silk, ermine, &c. He some-
times painted historical and fabulous subjects, but
they were not favourable to his powers ; he was
more successful in portraits of a small size, in
which he was much employed. Walpole says he
visited England on the invitation of Sir William
Temple, in the reign of Charles II., but did nut
remain here long. The following list includes
most of Netsoher's more accessible works : —
Glasgow.
Amsterdam.
Berlin.
Cassel.
206
Gallery.
Museum.
Museum.
Four portraits.
The Lute-player.
The Kitchen.
Vertumnus and Pomona.
Two portraits.
His own portrait.
Cassel. Museum. A Lady with a Violoncello.
{And Jive viore.)
Darmstadt. Gallery. Portrait of a boy with a grey-
hound {ascribed forraerly to
Terhurg).
^, „ Portrait of a lady.
Dresden. Gallery. Lady at the Piano.
jj „ The Letter-writer {said, to he the
painter^ s own portrait).
„ „ The Doctor's visit.
„ „ The Duet.
„ „ Portrait of Madame de Monte-
span.
„ „ Portrait of Madame de Monte-
span and her sou, the Due de
Maine.
„ „ Lady with a Dog.
„ „ Peasant Woman spinning.
„ The Lace-maker.
Gallery. A Lady in a white satin dress.
„ Nymphs adorning a statue of
Venus.
„ A Princess of Orange.
„ A male portrait.
Museum. His own portrait, with his Wife
and Daughter.
„ „ Portrait of Mr. van Waalwijk.
„ „ Portrait of Mad. van Waalwijk.
London. Nat. Gallery. Children blowing Bubbles.
„ „ Maternal Instruction.
„ „ Lady at a Spinning-wheel (?)
„ Bridgewater Gall. Interior with two ladies and a
gentleman.
„ „ Vertumnus and Pomona {said
to be portraits of St. Em-emond
and the Duehesse de Mazarin).
Munich. Gallery. A Music Party.
„ „ A Girl feeding a Parrot.
„ „ Bathsheba at the Bath.
„ „ Night scene.
„ „ A Shepherd with a Girl on his
lap.
Paris. Lmivre. The Sin^ng Lesson.
„ „ The Lesson on the Double-bass.
Petersburg. Hermitage. Portrait of Mary II. of England.
„ „ Portrait of the painter.
„ „ Four more portraits.
Pi,otterdam. Gallery. Family scene.
„ „ Two portraits.
NETSCHER, Constantinb, the younger son of
Caspar Netscher, was born at the Hague in 1669
or 1670. He learned the first principles of art
from his father, but when he had reached the age
of fourteen, death deprived him of that instructor.
It does not appear that he studied under any other
master, but contented himself by imitating the
pictures left by his father. He was very exten-
sively employed in painting portraits, and was
encouraged by the principal personages of his time.
Among his other patrons, were the families of
Wassenaer and Duivenvoorden, whose portraits he
painted, with those of the Earl and Countess of
Portland. Descamps reports, that the earl used
every persuasion to prevail on hiui to visit England,
but he declined, on account of the infirm state of
his health. His talents were not confined to por-
traits, as he occasionally painted domestic subjects
and conversations ; but in these he was very in-
ferior to his father. He was received into the
Society of Painters at the Hague in 1699, and was
afterwards appointed the Director. His ' Children of
Baron Suasso ' may be mentioned as one of his
best portraits. His works are to be found at
Rotterdam, St. Petersburg, Copenhagen, and in the
La Caze collection in the Louvre. He died at the
Hague in 1722.
NETSCHER, Theodok, the elder son and
scholar of Caspar Netscher, was born at Bordeaux
in 1661. At the age of eighteen he visited Paris,
Neuberghe
PAINTERS AND ENGRAVERS.
Nev9
under the patronage of Count Davaux, who had
been ambassador' from France to Holland. He
here received great encouragement as a portrait
painter during a residence of twenty years, which
caused him to be known at home as ' The French-
man.' He, however, returned at last to Holland,
fixed his residence at the Hague, and was employed
by the principal personages of the court. Des-
camps says he visited England in 1715, as pay-
master to the Dutch auxiliaries. He died at Hulst
in 1732. A portrait by him, dated 1681, is in the
Rotterdam Museum. In his larger pictures he
introduced fruit, flowers, Turkey carpets, and other
decorations, and he was particularly successful in
representing grapes and peaches.
NEUBEBGHE, Chhistophbk, a Tyrolese, who
painted historical pictures in the Vatican and at
the Palazzo Borghese. He was employed by the
Empress of Russia to copy all the most beautiful
pictures in the Vatican, and was living at Rome in
1776.
NEUCHATEL, Nicholas, also known as Lnci-
DEL, and, in the Antwerp guild books as Colyn
VAN NiEN-CASTEEL, a German-Flemish painter, was
born at Mons about 1520. He entered the studio
of Pieter Coucke, at Alost, while the elder Breughel
was a pupil there, namely in 1539. Soon after
1540, however, he left Alost for Mons, and some
years later took up his residence finally at Nurem-
berg, where he died at the end of the century. He
signed himself NicoLAUS DB Novo Castello. His
portraits are simple, lifelike, well drawn, and
sober in colour. Among them we may name the
following :
Gallery . Portrait of a youDg man.
Gallery. Portrait of the Mathematician
Johaun Neudorfer and his
son.
„ Two male portraits.
„ A female portrait.
Belvedere. A male portrait.
And portraits at Darmstadt, Prague, Pesth, and
Schleissheim.
NEUE (Neve). See De Neve.
NEURATTER, Augostin, was a German en-
graver, who resided at Prague about the year 1715.
He engraved a set of figures, entitled ' Statuse
Pontis Pragensis,' published in that year. He
worked from 1704 to 1749, when he died. His
plates are found in many books, some of which it
is said he published at his own expense.
NEDVEL, Simon, (or Nbdvelt,) who usually
went by the name of Novellanus, was a designer
and engraver of Cologne towards the close of
the 16th century. In conjunction with Franz Ho-
genberg he etched twenty-one plates of ' The
Funeral Pomps of Frederick II. of Denmark,' pub-
lished in 1592. He also etched several of the plates
for Braun's ' Civitates Orbis Terrarum,' published
at Cologne in 1572 ; as well as ' The History of
Tobias,' in eight plates, and ' The Good Samaritan,'
(with Hogenberg,) in six. His son, .fl^GiDitrs
Nedvel, also engraved at Cologne in the early
part of the 17th century ; one of his plates is a
' Christ on the Cross.'
NEUVILLE, Alphonsb Maeib db, was born at
Saint Omer in 1836. His family was " noble " and
well to do in the world, and they wished him to
embark on an ofScial career. But he had set his
heart on the army as a profession, and he was there-
fore sent to the preparatory school at Lorient. The
drawing-master at Lorient is said to have at once
Berlin.
Munich.
Vienna.
discovered his unusual talent with the pencil, and to
have prophesied his future success. After he left
Lorient he entered a law school in Paris, to please
his family. There he staid three years, passing
most of his time in picking up such knowledge of
military life as he could. After this he finally
made up his mind to be a painter, and after a year
of contention with his family, his father consented
to consult various well-known artists on his
chances. They all discouraged the idea, but Neu-
ville, nothing daunted, took a small studio and set
to work. He made the acquaintance of Delacroix,
then in his decline, and was very kindly treated by
hira. In 1859 he won a medal for his first exhibited
picture, and a year later he was commissioned by
the "Cercle Artistique," to paint them 'Garibaldi
taking Naples.' This picture was a failure. In
1861, however, he took a second-class medal at the
Salon with a ' Chasseurs de la Garde,' and from
that time onward his work attracted notice. His
great opportunity came with the war of 1870-71.
His weak constitution prevented him from bearing
an important part in it, but he became its chronicler
in paint. From the time that he exhibited his pic-
ture, ' The Last Cartridge,' there was scarcely a
better known artist in Europe. Neuville made a
great many designs for woodcuts, and at his death
was occupied with the drawings for an important
work in illustration of the incidents of a hard-fought
campaign. He died in Paris in 1885. Among his
works we may name :
Fighting in the Streets of Magenta. 1864.
Chasseurs-a-Pied crossing the Tchernaija {Lille
Museum). 1868.
Bivouac before Le Bourget (Dijon Museum). 1872.
The Last Cartridge. 1873.
Attack on a Barricaded House at Villersexel. 1874.
Surprise near Metz. 1875.
Battle of Forbach. 1877.
Cemetery of St. Privat.
Le Bourget.
Defence of Korke's Drift.
Cuirassiers at Eezonville.
The Storming of Tel-el-Kebir.
Le Parlementaire {his last picture) .
NEVE, CoENELius, an English portrait painter,
who practised in the reign of Charles I. He
painted a group of himself and his family, which
is now at Petworth. He painted also Lord Buck-
hurst and Mr. Edward Sackville in one piece in
1637. It is at Knole. In 1664 he painted Mr.
Ashmole in his herald's coat.
NEVE, (or Nbue,) Feans van. There were
several painters of this name, probably father,
son, and grandson. The first was inscribed in the
books of the Guild of St. Luke at Antwerp in
1630, and the third in 1691. It was therefore pro-
bably the second who was born, accordmg to
Balkema, at Antwerp in 1626, and died in 1681.
He studied the works of Rubens and Vandyck,
and at Rome those of Raphael, and became a
better designer and colourist than many of his
contemporaries. There are many of his pictures
at Antwerp. At Vienna are the portraits of the
Archduke Leopold, Governor of the Netherlands,
and Charles II. of Spain, with the Archduchess
Maria Anna. In the Lichtenstein Gallery are ' The
Judgment of Solomon ' and ' The Massacre of the
Innocents.' There are a number of etchings signed
' F de Neve, inv et fecit' Probably they are by the
second Van Neve, as the figures are well drawn,
and in the landscapes the foliage particularly well
expressed. ^^^
Neveu
A BIOGRAPHICAL DICTIONARY OF
Newton.
NEVEU, Mathijs, (or Naiveu,) was born at
Leyden ia 1647, and was first a scholar of Abraham
Torenvliet, but he had afterwards the advantage
of being instructed by tJerard Dou. He painted
domestic subjects afid conversations, and Hou-
braken highly commends a picture by him at
Amsterdam, representing the ' Worlds of Mercy,'
a composition of a great number of figures in-
geniously grouped. He died at Amsterdam in
1721. Some of his pictures have been imported
into England, but for the most part they are
confined to his own country. There is a ' St. Je-
rome ' by him in the Amsterdam Museum.
NEVEU, Noel ; a painter of this name won the
second ' Grand Prix ' of the Paris Academy in
1692, with an 'Abraham dismissing Hagar.'
NBWCOURT, RiCHAED, an English draughtsman
in the 17th century, who drew some of the illus-
trations for Dugdale's ' Monasticon Anglicanum.'
NEWENHAM, Feedbkick, an English portrait
and subject painter. He exhibited at the Royal
Academy from 1844 to 1855. There is a portrait
of H. M. Queen Victoria by him at the Junior
United Service Club. Newenham was horn in
1807, and died in 1859.
NEWMAN, Alfred. He was a pupil of George
Hawkins, and drew architectural subjects on stone,
illustrating a valuable series of works, principally
on Gothic Architecture. Among these are ' Bever-
ley Minster,' ' Johnson's Relics of Enolish Archi-
tecture,' ' W. B. Nesfield's Mediaeval Architecture,'
&c. Alfred Newman died in London, 13th March,
1866, aged 39.
NEWTON, Alfred P., painter in water-colours.
He was born in 1830. In 1858 he was elected an
associate, and in 1879 a full member of the Royal
Society of Painters in Water-colours. He died in
1883 at Roclj Eerry. He was a prolific exhibitor
in the rooms in Pall Mall East, sending in the last
year of his life no less than sixteen drawings, the
records of a visit to Greece. His work wns re-
markable for its delicacy, and for a certain poetry
of expression rather than for its vigour.
NEWTON, Edward, is the name of an engraver
affixed to a portrait of William Tansur, the musi-
cian, published with his ' Melodia Sacra.'
NEWTON, Francis Milner, was bom in Lon-
don in 1720, and was a pupil of Marcus Tuscher.
He confined himself to portrait painting, in which
he was considerably employed, though by no means
an able artist. At the foundation of the Royal
Academy he was chosen a member, and was ap-
pointed the first secretary to that institution, which
situation he filled until 1788, when he resigned.
He held for some time the office of ' Muster Mas-
ter ' for England, and generally wore the Windsor
uniform. He died in 1794, upon an estate which
had been left him, ne:)r Taunton.
NEWTON, Gilbert Stuart, was born at Halifax,
in Nova Scotia, in 1795. He commenced his studies
with Gilbert Stuart, who was his maternal uncle,
at Boston. He made a tour in Italy in 1817, and
then visited Paris, and in the course of the same
year he came to England and entered as a student
of the Royal Academy. He at first adopted Wat-
teau as his model, and produced several small
pictures much in the style of that master. His
first works that attracted notice were ' The For-
saken,' exhibited at the British Institution in 1821,
and 'The Lovers' Quarrel,' engraved for the
'Literary Souvenir' of 1826. The 'Prince of
Spain's Visit to Catalina ' was engraved in the
208
same annual in 1831, and he received 500 guineas
from the Duke of Bedford for the picture. His
other works, best known to the public by the
engravings, are ' Shylock and Jessica,' ' Yorick and
the Grisette,' in the National Gallery ; ' The Abbot
Boniface,' 'Portia and Bassanio,' in the South
Kensington Museum ; and ' Lear attended by Cor-
delia and the Physician.' He also painted a small
picture of 'Abelard in his Study, which he de-
posited as his diploma work on his election as
R.A. ; 'The Vicar of Wakefield restoring his
Daughter to her Mother ; ' ' The Poet, reading his
Verses to an impatient Gallant,' a piece of genuine
humour ; ' Macheath,' and a few portraits. The
' Macheath ' was purchased by the Marquis of
Lansdowne for 600 guineas. His last picture,
' Abelard ' was exhibited at the Royal Academy
in 1833, and it was about this time that he evinced
signs of aberration of mind, and these were fol-
lowed by unequivocal insanity, from which he
recovered only four days before his death. This
occurred on the 5th of Aijgust, 1835, at Chelsea.
He was a member of the Royal Academy from
1832. It is said that he was irritable and capricious ;
but he enjoyed the steady friendship and esteem
of Washington Irving and Charles R. Leslie. His
pictures are weak in drawing, but many of them
are very fine in colour.
NEWTON, James, an engraver, resided in Lon-
don about the year 1778. He was the son of an
engraver, Edwaed Newton, of whom nothing is
known. We have, among others, the following
prints by him :
PORTRAITS.
Sidney Parkinson, Draughtsman on board of the En-
deavour, Capt. Cook.
■William Newton, Clerk of the "Works at Greenwich
Hospital.
Edward Sargeant, Secretary to the Protestant Associa-
tion in 1780.
LANDSCAPES.
Two Views in Italy ; after Marco Ricci.
A Landscape, with Cattle passing a River ; after Claude.
The Herdsman, a pastoral Landscape ; after Zuccarelli.
NEWTON, Mary (Mrs. Charles T.). She was
the daughter of Joseph Severn, the artist and
H.M. Consul at Rome, and studied figure painting
under Mr. G. Richmond, R.A. Her earlier works
are in crayons and water-colours, her later in oils.
Her contributions to the exhibitions of the Royal
Academy include pictures named ' Chess,' dated
1855; 'Summer' and 'Winter,' 1864; and the
portrait of herself in 1863. She married, in 1861,
Mr. 0. T. Newton, superintendent of Greek and
Roman Antiquities at the British Museum, and
turned her attention to painting from the sculp-
tures, vases, &c., in that institution. In that branch
of art she attained remarkable skill. Mrs. Newton
was born in 1832, and died in January, 1866.
NEWTON, Richard, a caricaturist, and painter
in miniature. His works generally represent con-
vivial scenes. ' The Blue Devils,' 1795, drawn and
etched by himself, is perhaps his best production.
He died in London when only 21, the 9th December,
1798.
NEWTON, Sir William John, Kt., was the son
of James Newton the engraver, and was horn in
London in 1785. He was a successful painter in
miniature, and exhibited at the Royal Academy in
1808, and subsequently. He was miniature painter
to Queen Adelaide, and was knighted in 1837. He
I died in London the 22nd January, 1869.
Neyn
PAINTERS AND ENGRAVERS.
Nicias
NEYN. See De Neyn.
NEYTS, iEGiDios or Gillis, a Flemish painter,
who flourished at Antwerp from about 1647, in
which year he, was named a master of the Painters'
Guild, to 1690. He was a disciple of Lucas van
Leyden, but next to nothing is known of his life.
In the Dresden Gallery there are two pictures
by him, a 'Mountain Landscape with Figures,'
signed ^. NeyUj. 1681 ; and a 'Mountain Land-
scape with Ruins,' signed G. Neyts f. He has left
the following etchings :
The ■Wooden Bridge.
Man and Dog.
View of Lille.
A Peasant's Cottage.
Besides the above signatures he also made use of
the annexed monogram : \j^
NICAISE, a French painter, who flourished at
Cambrai in 1448. He was commissioned by the
Duke of Burgundy to write the verses and paint
the scenery for an ' Histoire morale sur la Danse
Macabre,' which was performed in 1449 before the
Ducal court.
NICAISE, Jean, a French miniaturist, who
worked in 1376-6, for Jeanne, Duchesse de Brabant.
NICANOR, a painter of Paros, who flourished
411 B.C. He is mentioned by Pliny.
NIGC0L6 Di SEGNA, is thought to have been
the son of Segna di Buenaventura, and is the
author of a ' Crucifix,' signed and dated 1345, in
the Academy of Siena.
NIOCOLET. See Nicolet.
NICCOLINO (or Messee Niccol6). See Dell'
Abbate.
NICC0L6. See Semitecolo.
NICC0L6 DELL' ABBATE. See Dell' Ab-
BA'J'E.
NICC0l6, Gelasio di, was an unimportant Fer-
rarese painter of the 13th century, who imitated
the style of Giotto.
NICC0L6 DA BOLOGNA. See Bologna.
NICC0L6 da VERONA. See Verona.
NICC0L6 da FOLIGNO. See Libbratore.
NICC0L6 DI PIETRO. See Gebini.
NICERON, Jean FRANgois, a French monk, who
painted the walls of his convent in fresco, in 1643.
NICHOLLS, Sutton, an English engraver, re-
sided in London early in the 18th century. He was
chiefly employed by the booksellers, for whom
he executed a considerable number of plates. His
best prints are slight etchings of shells, and other
trifling subjects ; when he made use of the burin,
his productions were ■< ery poor. In 1725 he pub-
lished 'Prospects of the most considerable Buildings
about London ; ' he also engraved the metropolitan
views for Stowe's ' Survey.'
NICHOLS, Joseph, an English painter, who is
remembered by two pictures painted in 1738, ' A
View of the Fountain in the Temple,' and ' The
Stocks' Market in the City.' The latter is an ex-
cellent work, and was for some time attributed to
Hogarth.
NICHOLSON, Alfred, an English landscape
painter in water-colours, born at Whitby in 1788.
He was the son of Francis Nicholson, and passed
his early years in the navy. Devoting himself to
art, he went to Ireland in 1818, and spent some
years in sketching there. He settled in London
as a teacher of drawing about 1818. The greater
VOL. II. p
part of 1821 and 1822 were spent by him in
sketching tours, He died in London in 1833.
NICHOLSON, Francis, an English landscape
painter in water-colours, born at Pickering in
Yorkshire in 1753. His art instruction was con-
fined to a few lessons from an artist at Scarborough.
He settled at Whitby in 1783, where he married,
and practised painting animals, birds, &c., and
taught. In 1792 he went to Knaresborough, Ripon,
Weybridge, finally settling in London. He had
exhibited for the fiist time at the Royal Academy
in 1789, and in 1804 he became one of the original
members of the Water-colour Society, where he
exhibited till 1815. In his later yeajs he devoted
his time to lithography, made above 800 drawings
on stone, and did much to advance that art.
After he retired from the practice of his art, he
amused himself with experiments on colours, &c.
In 1820 he published 'The Practice of Drawing
and Painting Landscape from Nature.' He died
in London in 1844. There are several of his water-
colour drawings at the Kensington Museum.
NICHOLSON, Isaac, an English wood engraver,
born at Melmerby, Cumberland, in 1789. He was
one of Bewick's apprentices, and imbibed a large
share of his master's style. He died in 1848.
Specimens of his work will be found in :
Sharp's ' History of the Eebellion.'
Flower and Grover's ' Visitation of Durham.' 1820.
' Robinson Crusoe.'
Watts's ' Hymns,' &o., &c.
NICHOLSON, James, glass painter, was one of
the four who contracted to executeeighteen windows
for King's College Chapel, Cambridge, in the reign
of Henry VIII.
NICHOLSON, William, a. portrait painter and
etcher, born at Newcastle-on-Tyne in 1784. He
first exhibited at the Royal Academy in 1813.
About 1820 he removed to Edinburgh, where he
obtained a good practice, and had a great share in
the foundation of the Royal Scottish Academy, of
which he was an original member, and afterwards
secretary. His forte was in water-colour portraits,
and he also etched a series of portraits. He died at
Edinburgh in 1844. There is a portrait by him
of ' Grecian ' Williams in the Scottish National
Gallery. In 1816 he painted the portrait of W.
Bewick; which was exhibited at the Academy. A
series of his portraits was published with short
Biographical Notices.
NICIAS, an ancient Greek painter, mostly in
encaustic, was a native of Athens, and flourished
from 348 to 308 before Christ. He was instructed
by Antidotus, and his works were distinguished
for their excellent light and shade. Praxiteles,
whose statues he painted, declared that those
were the best upon which Nicias had rendered as-
sistance. He particularly insisted upon nobility in
the choice of subjects for pictures. He painted
women with great success, as well as dogs I One
of his admired works represented ' Ulysses invok-
ing the Shades of the Dead,' from the Odyssey.
For this picture, Attains, King of Pergamus, offered
him sixty talents, but such was the patriotism of
the painter, that he refused the ofier, and presented
the picture to his country. The liberality of his
fellow-citizens had, however, enabled him thus to
indulge his patriotism, as he had become extremely
rich by the bountiful remuneration he received for
his works. In the time of Pliny, a picture of Bacchus,
by Nicias, was preserved in the 'Temple of Concord
at Borne.
209
ITickele
A BIOGRAPHICAL DICTIONARY OF
Nieulandt
NICKELS. See Nikkelen,
NICOLAI. See Swanenburg.
NICOLAI, a. D. C, resided at Vienna in 1720.
Conjointly with A. J. Prenner, lie executed part of
the plates from the pictures in the Grand Gallery at
Vienna, which were published in four sets in folio.
NICOLAS, Adrien, a painter of the French
school, who was by birth a Belgian. He was
born at Antwerp early in the 16th century,
but, migrating to France in his youth, was
naturalized by Francis I. He established himself
at Orleans, where he died at an advanced age.
NICOLAS, Louis, a French miniaturist of the
13th century. He was at work in Paris in 1293.
NICOLAS LE LoRRAiN, a painter on glass, who
wa's employed in the ducal palace at Nancy in 1515.
NICOLAS LB PicARD, a French painter and
native of Amiens, who was at work at Avignon,
in the church of St. Agricol, in the year 1509.
NICOLAUS, a native of Friuli, who was at
work at Gemona in 1332. He painted the f agade
of the cathedral, and a martyrdom which he
signed thus: — Mcccxxxii. Magister Nicolaus
PiNTOE MB FECIT. To him some writers have
ascribed a large picture of the ' Presentation in
the Temple,' in the cathedral of Vengone.
NICOLAY, Frbre, was a Jesuit, and pupil of
Rubens. He excelled in making copies of pictures
by Rubens and Van Dyck. He also painted small
figures in the landscapes of Nayo.
NICOLAY, Jan Hendrik, was bom at Leeu-
warden in 1766. He was the son of a, carriage
painter, and for a time followed the same trade.
He was also a great ornithologist, and delighted
in painting dead birds. He was a frequent ex-
hibitor at Amsterdam, and his works are much
esteemed in Holland. He died in 1826.
NICOLET, Benedict Alphonsiits, or Bernhard
Anton, (Nicollet, Nikolet, &c.,) was a Swiss en-
graver, born at St. Immier, in the bishopric of
Basle, in 1740. He went, when he was young,
to Paris, where his first performances, after study-
ing under Poilly and Cochin, were some plates,
engraved in conjunction with Longueil, after the
marines of Vernet. He also engraved four of the
plates which embellish the ' Voyage Pittoresque
du Royaume de Naples,' by the Abbe de St. Non.
He died in 1807. The following are esteemed his
best prints :
portraits.
Noel Hall6, Painter to the King. 1775 ; after Cochin.
Thomas Le Sueur, Professor of Mathematics at Bome ;
after the same.
Francois de Paul Jacquier, Professor of Mathematics ;
after the same.
VARIOUS SUBJECTS.
St. Apollonia ; after the picture by Giiido ; in the Or-
leans Collection.
Milo of Crotona ; after Giorgione ; the same.
Susannah and the Elders ; after ttesliais.
A View of Naples ; after Vernet.
A Shipwreck ; c^ter the same.
A View of the Interior of the Church of San Gennaro
at Naples, at the moment when the miracle of St.
JaiiTiarius occurs ; after Debrets ; etched by Mart'ni
and Germxdn, and finished with the graver hy Nicolet.
NICOLETTO. See Cassana.
NICOLETTO DA Modena. See RosEX.
NICOLUCCIO CALABRESE, a Calabrian pupil
of Lorenzo Costa, who is said to have made an
attack on his master with a knife, in revenge for
a supposed caricature in one of Costa's pictures.
NICOMACHUS, a painter of about 400 B.C.,
210
was a native of Thebes, and the brother of Arist-
eides. He was instructed by his father Aristiaaus.
Of all the painters of antiquity, he was the most
remarkable for the extraordinary facility of his
pencil, a promptness which did not, however,
diminish the beauty of his productions ; and Plutarch
compares the readiness with which he worked to
that of Homer in the composition of his verses.
Aristratus, the tyrant of Sicyon, having engaged
hira to decorate with his paintings a monument he
intended to consecrate to the memory of the poet
Telestus, a particular day was fixed when it was
expected to be finished. The period had nearly
elapsed before the painter had commenced his
work, when Aristratus, irritated by his apparent
neglect, threatened to punish him severely ; but
Nicomachus satisfactorily accomplished his under-
taking within the limit of time. Among his prin-
cipal works was a picture of the ' Rape of
Proserpine,' which was for a long time preserved
in the Capitol at Rome. At the time of his death
he left imperfect a picture of Helen.
NICOPHANES, a painter of the school of
Sioyon, who is reckoned by Pliny among the most
eminent of his time. He lived about 316 B.C.,
and studied under Pausias. He was called ' The
Courtesan Painter,' for his models were usually
members of the class of hetairce.
NICOTERA, Marcantonio, a painter of the
school of Naples, scholar of P. Crisnolo, flourished
about 1690-1600. In the church of S. Nicola alia
Dogana at Naples, there is a picture by him
' representing ' The Virgin and Child, St. Jerome,
and St. Blaise.' The title-page of 0. Boldoni's
' Epigraphica,' Augusto Perusia 1600, signed M
NIC M. and containing the portrait of Cosmo de'
Medici, is said to be by him.
NIEMANN, Edmund John, a landscape painter
of German extraction, born at Islington in 1813.
In his early years he was employed at Lloyds,
where he remained till 1839. He then devoted
himself to art, settling in High Wycombe, in the
neighbourhood of which he found many subjects
for his brush. His works first appeared at the
Royal Academy in 1844. About 1850 he spent
a few years in London, through his connection
with the short-lived National Institution, of which
he was Secretary and Trustee. He then lived in
England Lane, near Hampstead, on a site now
swarming with artists. He died of apoplexy at
Brixton in 1876. A collection of forty-one of his
works was exhibited at Nottingham Castle in 1878.
Specimens of his art are to be seen in the Kensing-
ton Museum and the Liverpool Gallery.
NIEULANDT, Adriaen van, painter, was born
at Antwerp in 1590. It has often been said that
the date of this painter's birth is unknown; but
underneath a portrait of Nieulandt, published in
1649, we find this inscription : " A very good
painter of small figures and landscapes ; he has
also painted many scenes from the Old Testament ;
he is a native of Antwerp ; he began as an artist
at Amsterdam under Pieter Isaacsz and Franz
Badens, and is still established in that city. He
is fifty-nine years of age." Adriaen was possibly
the brother of William van Nieulandt, who acquired
a reputation as a playwright. Adriaen passed most
of his life at Amsterdam, but from the picture
mentioned below as in the Brussels Gallery, he
seems to have revisited his native town at least
once. The date of his death is unknown, but he
was still living in 1657. Works :
Nieulant
PAINTERS AND ENGRAVERS.
Nittis
Brunswick. Gallery. Diana and nymphs in a land- |
scape.
„ „ Dia'ia and Callisto.
„ „ Landscape with Hunters.
„ Still-life.
Brussels. Gallery. A carnival scene at Antwerp.
„ ^^ (Skaters on the ice in the town
ditch.) At Madrid a replica
of this picture, with some
variations, is ascribed to
Denis van Alsloot.
Copenhagen. Gallery. Entry of Christ into Jerusalem.
„ „ Triumph of Bacchus.
NIEULANT, Jan, born at Antwerp in 1569,
painted historical pictures and landscapes, of small
dimensions, often on marble. He died in 1628.
NIEULANT, WiLLEM van, (or Nieuwland,)
was born at Antwerp in 1584. After being in-
structed in the first principles of art by Jacob
Savery, he went to Rome, where he became the
scholar of Paul Bril, under whom he studied three
years, and for some time followed the style of that
master ; but he afterwards adopted one more bold
and expeditious. On his return to Holland he
established himself at Amsterdam, where he was
much employed in painting views of the ruins of
ancient architecture in the vicinity of Rome, from
the designs he had made during his residence in
Italy. He was still alive in 1635. The following
paintings remain from his hand :
Antwerp. Museum. View of the Campo Vaccino at
Rome. 1611. (A replica is in the
Vienna Belvedere.)
Copenhagen, „ Roman Cattle-Market.
Willem van Nieulant etched about sixty plates of
landscapes and ruins, from his own designs, and
from those of Paul Bril ; they are occasionally
strengthened by the burin. Among others, we have
the following by him :
A Landscape, with ruins, and figures representing the
Good Samaritan; P. Bril inv. G. Nieulant fecit.
A Mountainous Landscape, with Tobit and the Angel ;
the same.
Two Views of the Sea Coast ; the same.
Three Views of Euins in and near Rome ; Gtiil. Nieu-
lant.
A large Print representing three Bridges on the Tiber,
and a part of the City of Rome; in three sheets,
inscribed, Guilielmus van Nieulunt fecit et excud.
A rdverpia. 1600.
NIEUWENHUIZEN, Hendeik, born at Breda
in 1747, copied with the pen with most surprising
accuracy several engravings and etchings after
Callot and Rembrandt.
NIEUWERBORCH, Pibtee van, an obscure
Flemish painter, who was inscribed on the Guild at
Bruges in 1480.
NIKKEL^N, ISAAK VAN, (or Nickele,) archi-
tectural painter, was born at Haarlem in the 17th
century. He entered the guild in that city in
1660. In the Six Collection, at Amsterdam, there
is an ' Interior of a Gothic church at Haarlem ' by
him. Other productions of his are to be met with
at Brunswick, Brussels, Copenhagen, St. Peters-
burg, and Stockholm. He died at Haarlem in 1703.
NIKKELEN, Jan van, was born at Haarlem in
1649, and instructed by his father or elder brother
Isaak. He did not pursue the same branch of art,
but applied himself to the painting of landscapes
and game, in which he followed the style of Karel
du, Jardin. He passed some time at the court of
the Elector Palatine, for whom he painted several
pictures, and was afterwards made painter at the
court of Cassel, where he died in 1716. The Gallery
there contains a ' Roebuck in a Forest ' by him. His
p 2
daughter, Jakobea Nikkelen, born in 1690, was a
pupil of Herman van der Myn, and excelled in
painting fruit and flowers. She married Willem
Troost, a portrait painter. The pictures she painted
at Diisseldorf have been erroneously ascribed to
her father. See Teoost.
NIKOLET. See Nicolet.
NILSON, F. Christian, painter, was bom at
Augsburg in 1811. He worked chiefly at Munich,
and is principally known by his frescoes of scenes
from the Greek "War of Liberation," executed
after designs by Peter von Hess, in the " Hof-
garten ; " and by the decorative pictures, from his
own designs, on the staircase of the State Library
at Munich. His paintings in illustration of Schil-
ler's ' Song of the Bell ' have been engraved by
Adrian Schleich. In his later years he abandoned
painting for drawing and engraving. Nilson died
at Munich the 19th December, 1879.
NILSON, Johann Esajas, a German miniature
painter and engraver, was born at Augsburg in
1721. He engraved and etched several portraits,
and a number of figure scenes in borders, which
are good examples of the decorative art of the 18tli
century. He became Director of the Academy at
Augsburg, and died there in 1788. His plates
appeared in series of two, four, six, or twelve, and
are signed either Nilson, E. N ., J. E. N., or with
a monogram. Among others are the following :
POETEAITS.
Clement XIII., Pontit. Max. ; Nilson inv. et fee.
Petrus III., Russorum Imperator.
Catherina Alexiewna, Russorum Imperatrix.
Stanislaus Augustus, Rex Pol.
NIMECIUS, Balthasae MENEins, was an in-
different engraver on wood, and is said to have
been a native of Saxony. Professor Christ attri-
butes to him a monogram composed of a B., an
M.( and an N.
NIMEGEN and NIMWEGEN. See Nymegen.
NINFE. See Dalle Ninfe.
NINO DE GUEVARA. See Guevaea.
NIPOTE, II. See Gaebieei, Lok.
NIQUET, Claude, the elder, was born in 1770.
He was one of the engravers employed on the
' Galerie du Mus6e Napoleon,' published by Filhol.
He was still living in 1831. Among his plates are :
The Death of St. Bruno ; after Le Sueur.
The Triumph of Flora ; after N. Poussin.
The Apollo Belvedere.
The Diana of the Louvre.
The Laoooon.
Cupid and Psyche.
The Transfiguration ; after Raphael.
NIQUEVERT, Alphonse Alexandke, a French
historical and .landscape painter. He was bom in
Paris in 1776, studied under David and Regnault,
and exhibited at the Salon from 1806 to 1824.
He was a friend of the painter Jean Louis Cesar
Lair, whose biography he wrote, and after whose
death he retired into private life. There are several
of his works in the cathedral of Metz. Niquevert
died 2nd December, 1860. There are by him :
Tobit and the Angel.
The Siege of Paris by Henry IV.
Christ before Pilate.
NITTIS, Giuseppe de, an Italian, was bom
near Barletta, Naples, in 1845, and was a pupil of
G^r6rae, in Paris. He painted genre subjects,
chiefly scenes in the streets of Paris and London,
which are remarkable for their truth. His works
are realistic in the best sense. He painted for a
211
Nivolstella
A BIOGRAPHICAL DIOTIONABY OF
IToei
time in England, and with much success. He won
the orthodox honours at the Salon, and was
" decorated " in 1878. He died suddenly in 1884.
Among his works we may name :
Bougival. 1875.
Paris, Place de la Concorde. 1875.
„ „ des Pyramides. 1876.
Naples, on the Boad to Castellaraare. 1876.
Paris, from the Pont Royal. 1877.
Paris, Arc de Triomphe. 1878.
London, The Victoria Embankment.
NIVOLSTELLA, (? Johann Geoeq,) was a wood-
engraver of Mayence, who was at work towards
the end of the 16th century. He is known by a
set of borders after the designs of B. Castelli for
the first Genoa edition of Tasso's ' Gerusalemrne
liberata.' His son, Johann Georg, was born in
Genoa in 1594, and was also a wood-engraver, but
his works are inferior to those by his father. He
produced a, set of wood-cuts for an edition of the
'.ffineid,' and another after Anton Tempesta's
' Patriarchs.' He died at Rome in 1624.
NIXON, Jambs, an English miniature painter.
He was a member of the Incorporated Society,
studied in the Royal Academy, where he first ex-
hibited in 1772, and was elected an Associate in
1778. Nixon received court patronage, and held
appointments to the Prince of Wales and the
Duchess of York. He was born in 1741, and died
at Tiverton in 1812.
NIXON, John, an English engraver, who was
born in 1706, and was still at work about 1760.
His best prints are small portraits, in which the
faces are entirely finished in stipple. Among
others we have the following portraits by him :
Frederick, Prince of "Wales.
William Augustus, Duke of Cumberland ; two plates.
Archbishop Tillotson.
■John, Earl of Granville.
NOBLE, John, an English painter, born in 1797.
He was a member of the Society of British Artists,
and occasionally painted Italian landscapes. He
died in 1879.
NOBLE, William Bonneau, an English land-
scape painter, was born in 1780. He taught draw-
ing, and exhibited a few works at the Royal Academy
in 1809-11. Having lapsed into irregular habits,
through disappointment in love and art, he at-
tempted suicide in 1825, and died in Somers Towh
in 1831. He left a MS. poem called, ' The Artist.'
NOBLESSE, (or Noblet,) FEANgois, according
to Nagler was born at Cahors in 1652, and resided
in Paris, where he died in 1730. He excelled in
drawing with a pen, and appears to have formed
his taste by studying the works of Callot. He
etched a few small landscapes.
NOBILI, Antonio, named Steafoko, was an
excellent landscape painter of Verona. He died
young in 1696.
NOBILI, Durante de', an Italian painter, who
flourished at Caldarola about 1571, and formed
himself on the style of Michelangelo. At S. Pier
di Castello, Ascoli, there is a ' Madonna ' inscribed
with his name, birthplace, and the above date.
NOBLIN, H. and L. Two indifferent engravers
of portraits, who lived in Paris about the year 1680.
NOCHER, J. E., a French engraver, born in
Paris about the year 1736. He was a pupil of
Etienne Fessard, and has engraved several book-
ornaments, and a few portraits ; among the latter
a ' J. J. Rousseau,' after Ramsay, dated 1766.
NOCRET, Jean, (or Nooeoit,) a French painter
and engraver, was born at Nancy in 1618, and be-
212'
came a scholar of Jean Leclerc, but finished his
studies in Italy under the direction of Poussin.
On his return to France he was much employed at
St. Cloud and the Tuileries. He painted the por-
traits of several of the royal family of France,
among them the Queen of Louis XIV. as ' Minerva.'
He engraved several plates after his own designs ;
the best is ' L'hommage du petit St. Jean.' He
was principal painter to the Duke of Orleans, and
Rector of the Royal Academy of Painting and
Sculpture in Paris, where he d ed in 1671. P. Syl-
vestre engraved his portrait of himself, and Nan-
teuil that of the Duke of Beaufort. His son Chables
(born 1647, died 1719) painted portraits with some
success, and was known as NocRET Jeunb.
NODDBE, E. P., an English painter of horses
and other animals, exhibited at the Royal Academy
from 1786 to 1820. He was appointed botanic
painter to George III., and after that exhibited a
few flower pictures. Nothing is known of his life.
NO^, AM:^DiE Charles Henri, Vicomte de.
This brilliant draughtsman and caricaturist was the
second son of Jude-Am6dee, Comte de Noe, a peer
of France. The name of the family, whose nobility
dates from the time of the Carlovingian kings, is
that of ii. small island near Mirande. There Ame-
d6e Charles was born the 20th of January, 1819.
The date and place of his birth are thus given
by G^rSme, who no doubt knew the facts. His
mother was an Englishwoman, and as he grew
up he combined in his manners the most striking
characteristics of the two nations from which he
derived his origin ; the calmness of the English-
man with the vivacity of the Frenchman. It was
to this singular union of very different qualities,
and to his ever ready wit that he owed his great
popularity. Although his talent for design had,
from his childhood, been known to his friends, and
had led to his abandoning the military career for
which he had been educated, to study under Paul
Delaroche, Charlet, and Lanny, it was only in 1842
that his first "album" appeared. It is entitled
' Calembours, bStises, jeux de mots tires par les
cheveux. Paris, 1842. Par Cham de N**' and
affords, it is said, the only instance in which the
name of ' Cham,' that he rendered so famous, is
combined with any hint at the de Noe. Between
that year and 1879, when he died, de Noe produced
at least forty thousand designs, illustrating every
phase of life in France and Algeria. They are to be
found in so many different publications, that want
of space will not permit us to name them separately.
Although ' Cham ' dealt so many hard blows, they
were always so fair and honest that de No^ was
a man esteemed alike by friends and fogs. One of
the former proposed to inscribe upon his tomb,
"Quarante ans d' esprit, et pas un de mechancete."
His wife, the Comtesse de No6, died in 1880, six
months after her gifted husband.
NOEL, AchiLle Jules, a French landscape and
marine painter, born at Quimper in 1815. His
works first appeared at the Salon in 1840, and he
was awarded a medal in 1853. He died in Paris
in 1881. As one of his best works we may name
'The Arrival of the Diligence at Quimper in the
time of the Directory.' The following pictures are
in the French public collections :
Besamjon. Museum. View of Brest Harbour. 1840.
Bordeaux. Museum. Two landscapes.
Nantes. Museum. Sea-piece. 1840.
NOEL, Alexis Nicolas, designer, lithographer,
and painter, was born at Clycliy-la-Garenne in
Nuel
PAINTERS AND ENGRAVERS.
NoUin
1792. He studied in Paris under David, and his
sketches in oil and water-colours represent land-
scapes, military scenes, hunts, and architectural
views. He published a ' Voyage Pittoresque et
Militaire en France et en AUeinagne, dessin^ d'apres
nature, par A. Noel : " most of the plates in this work
were lithographed by himself. He died in 1848.
NOEL, Alphonse L^on, a lithographer, born in
Paris in 1807, who studied under Gros, Hersent, and
Girodet. He began hia career as a painter, but
acquiring great skill in lithography, he devoted
his time almost exclusively to that branch of art.
Among a great number of works by him we may
name a set of lithographs from the more remarkable
pictures in the Gallery at Dresden. He reproduced
a number of Winterhalter's portraits of royalty.
He died in 1879.
NOEL, Jean Alexandre, a French marine
painter, was horn in 1750, and became a scholar
of Joseph Vernet. He visited California in 1768-70,
and afterwards Spain and Portugal, and painted
storms, fogs, conflagrations, moonlights, and falls
of snow, principally in water-colours. He also made
sketches of the combat of the French corvette. La
Bayonnaiae, with the English frigate, L'Embuscade,
and of a French frigate passing Alexandria by night.
He painted views of Gibraltar and Lisbon ; and was
an industrious exhibitor till the year 1822. His
views of Gibraltar and Cadiz have been engraved
by P. Hegi. He was still living in 1831.
NOEL, Peter Paul Joseph, was born at Waul-
sort sur Meuse, near Dinant, in 1789, and was there
instructed in the rudiments of art. At Antwerp
he studied under Herreyns and Regemorter, and
obtained several prizes there and at Brussels. In
Paris he became a disciple of Schwebach ; and after
visiting Rome, went to Brussels, where he for a
time painted landscapes with animals and figures,
and then devoted himself entirely to genre subjects.
He died at Sosoye in 1822. There are by him :
A Peasant falling from a Tree, and upsetting a Basket
of Fruit.
Halt of Bavarian Cavalry;
Postilion before an Inn.
The Market-place of Amsterdam. (Amste>-dam Museum.)
Girl with grapes. (The same.)
A Cavalry Outpost. {Brussels Museum.)
Repose of the Shepherds. (The same.)
NOFERI, MiCHBLE, a Florentine painter, of whom
little is known. He worked in the 17th century,
and was a pupil of Vinoenzo Dandini.
NOGARI, Giuseppe, a Venetian painter, was
born in 1699, and became a scholar of J. B. Pittoni
and Antonio Balestra. He especially devoted him-
self to the painting of half-length figures, and from
the numerous heads by him which have been
brought to England, it may be concluded that he
was an excellent portrait painter. He was Director
of the Academy at Venice, where he died in 1763.
We are indebted to him for the excellent copies of
the 'Madonna de San Sisto,' after Raphael, at Pia-
cenza, and the ' Notte,' after Correggio, at Modena.
T. Cattini and T. E. Hayd have engraved after him.
Among his better works we may name :
Dresden. Jtoi/al Gall. An old Man.
„ „ The Bust of an old Woman.
„ „ St. Peter.
Stockholm. Oallery. An old Man.
„ „ An old Woman with a Spindle.
NOGARI, Paris, (called -Romano,) a painter
and engraver of Rome, who flourished during the
pontificates of Gregory XIII., Sixtus V., and Clement
VIII. He imitated the manner of Rafl'aello Motta,
and was employed in the Loggie of the Vatican,
and in the library and church of the Lateran. He
also painted several pictures for other churches,
both in oil and fresco. In the church of the
Madonna de Monti is a picture by this master
representing our ' Saviour bearing his Cross ; ' in
San Spirito in Sassia, the ' Circumcision ; ' and in
the Trinity de' Monti, the ' Taking down from the
Cross.' In later yearp he painted in miniature and
practised engraving ; his best plate is considered to
be ' The Battle of King Ramirez with the Moors '
(1588). He died at Rome in 1596.
NOLlNi See Nollin.
NOLLEKENS, Joseph Francis, (called Old
NoLLEKENS,) was bom at Antwerp in 1702. He
came to England in 1733, and was for soi/ie time
a scholar of Pieter Tillemans. He painted land-
scapes and domestic subjects, and was much em-
ployed in copying the works of Watteau, and the
architectural views of Giovanni Paolo Pannini.
Lord Cobham employed him in several ornamental
works at Stowe ; and he was also patronized by
the Earl of Tilney. Nollekens died in London in
1748. He was the father of the sculptor, Joseph
Nollekens. His subjects, like Watteau's, were
often musical and fashionable conversations al
fresco, but they are not imitations of that master :
the scene is generally the gardens at Wanstead,
the seat of Lord Tilney. There is a painting at
Windsor by him containing portraits of Frederick
Prince of Wales and his sisters.
NOLLET, Dominique, was born at Bruges in
1640, and was a scholar of Frans van der Meulen
in Paris. He painted history, but was more dis-
tinguished for his landscapes, battles, and sieges.
His talents recommended him to the patronage of
Maximilian, Duke of Bavaria, who sent him to ac-
company the Duchess to Venice ; the governor of
the Low Countries also appointed him his principal
painter. He was made a member of the Society of
Painters at Bruges in 1687. In the church of the
Carmelites at Bruges is an altar-piece representing
' St Louis embarking for the Holy Land.' There
are several of his battle-pieces and landscapes in
private collections in Belgium. He died in Paris in
1736. His pictures on close inspection have more
the appearance of crude sketches than finished
works, but viewed at a proper distance, the colours
become warm, and the arrangement harmonious.
NOLLI, Carlo, painter and engraver, was a
native of Como, a son of Giovanni Battista Nolli
the architect, and a scholar of Agostino Masucci
and Corradi. He engraved after Guercino, Prima-
ticoio, Parmigianino, and others. He was em-
ployed by command of the King of Naples, on the
'AntiohitA, d'Ercolano ' (Napoli, 1757-62), and ^-
graved also for Hamilton's works on Greek, Etrus-
can, and Roman Antiquities. He died at Naples
in 1770.
NOLLI, Giovanni Battista, the father of
Carlo Nolli, was a native of Italy, and flourished
about the year 1755. He was an architect by pro-
fession, but he engraved nineteen sheets of plans
and views of buildings in Rome in 1748.
NOLLIN, (or Nolin,) J. B., a French engraver,
was born in Paris in 1657. He studied in Paris
under N. de Poilly, and in Italy, where he executed
some plates after Annibale Carracci, Nicholas
Poussin, and other masters. He engraved several
of the prints in a work entitled, ' Vues, plans,
coupes et elevations de Versailles.' He died in 1725.
213
Nolpe
A BIOGRAPHICAL DICTIONARY OF
Noorf
NOLPB, PlETEE, a Dutch painter and engraver,
was born at the Hague about 1601. Of his works
as a painter little is known apparently beyond
a 'Dutch Landscape' in the Copenhagen Gal-
lery ; but we have several prints by him. They
are usually begun with the point, and finished
with the burin. His best productions are his
landscapes. He usually signed his prints with
his name at length, joining the initials P. and
N. together, and in a few instances with this
monogram J^. or ^^., only. He is said to
have engraved as early as 1616, and as late as
1670. The following are esteemed his best works :
The Portrait of Johana Adler Salvias, Swedish Minister
Plenipoteutiary.
A set of eight Cavaliers ; etched.
A set of eighteen etchings of Beggars ; in the style of
P. Quasi.
St. Peter delivered from prison ; after J. V. Vucht.
Judah and Tamar, in a large landscape ; from his
own design. The same figures were afterwards
introduced into another landscape, of a smaller
size.
The Broken Dyke ; from his own design (a masterpiece).
Daniel in the Den of Lions ; after Blancert.
An Allegorical Print on the Marriage of the Prince of
Orange with the Princess Mary of England.
A set of six Landscapes ; after Adriaan van Nieulant.
A set of six Landscapes ; after R. Roginan.
Eight Months of the Year ; Pieter Nolpe fee. et exc.
The Prophet Elijah and the "Widow of Sarepta.
St. Paul, the Hermit, fed by an Eagle in the Desert ;
after Pieter Potter.
The Cavalcade of 1638 at Amsterdam, on the entry of
Mary de' Medici into that city ; after C. Molyn ; a
large print in six sheets.
A Landscape in the style of Van Goyen. 1616,
Six plates of Costumes ; after P. Quast.
Six plates on the Entry of the Prince of Orange ; after
J. Wildens.
Ten plates on the Entry of Maria de' Medici; after
Moijart de Jonghe. 1639.
Thirty plates on the funeral of Prince Frederic Henry ;
after P. Post. 1651.
NON, Don. Viv. de. See Denon.
NON, J. C. E. DE Saint. See Saint Non.
NONOTTE, (or Nounotte,) Donat. This painter
was born at Besan^on in 1707, and became a
favourite pupil of Lemoine, who employed him on
many of his works, and whose biography he
eventually wrote. The death of his protector, the
Duke d'Antin, prevented his accomplishing a
long-desired journey to Rome. He was made
painter to the King, and a member of the Academy
of Paris in 1741. In 1764 he was appointed painter
to the city of Lyons, where he established a free
school of design, the model of all subsequent
institutions of the kind in France. He published a
' Complete Treatise on Painting,' in four parts, and
vvas in a literary capacity Associate of the Academies
of Rouen and Lyons. He died at the latter city
in 1785. His historical pictures are of the style
of his age, displaying an abuse of allegory. One
of them is the ' Taking of Besanjon by the
Protestants.' But after the earlier portion of his
career, he abandoned this branch of art for por-
traiture. Among his portraits we may name :
Eobert le Lorrain, sculptor (engraved hy J. N-
Tardieu).
Gentil Bernard, (engraved by DaulU).
NONZIO, (or Anndnzio,) an Italian miniaturist,
was born at Trent, but lived and worked at Milan
in the last half of the 18th century. His daughter,
Fede Galizia {q.v.'), was born at 'Trent in 1576.
214
NOOMS, Renieb, (or Remigius,) commonly
called Zeeman, was bom at Amsterdam about 1612.
Very little is known of his life. It is supposed
that at one time he worked with the elder Willem
van de Velde. He resided for a long time in
Berlin, where hei- was painter to the Elector
Frederick William ; he also visited England and
France. On etchings published by him in Amster-
dam, we find the dates 1662, 1664, and 1666 ; on
others published in Paris, 1650 and 1652. He
also etched three plates of the naval fights
between the English, French, and Dutch, which
took place in 1673. The paintings of Nooms
betray the influence chiefly of Backhuysen and
Claude. The date of his death is not known, but
it must have been later than 1673. Isaak and
Enoch Zeeman, who were working in London about
the middle of the 18th century, were most likely
related to Nooms. Paul Zeeman was the son of
Enoch. (See Zeeman.) Among the better works of
Nooms we may name :
Amsterdam. Museum. Sea-fight near Leghorn, 14th
March, 1653.
„ „ View of Amsterdam.
Berlin. Museum. A Quiet Sea.
„ • „ Seashore with Boats.
Paris. Louvre. View of the old Louvre, from
the South bank of the Seine
(a masterpiece/ etched by
Meryon).
Vienna. Belvedere. A Sea-piece.
The following is a list of his plates :
Two plates of Block-houses.
Landscape with Canal and Boats.
The Dutch Herring Fleet.
A set of eight plates of Shipping ; designed and en-
graved by Remy Zeeman. 1632.
A set of four Views in Amsterdam. 1636.
A set of four Sea-ports in Holland ; published at
Amsterdam in 1656.
The Four Elements ; in four plates ; Eeinier Seeman^fec.
Two Views in Paris, one of the Faubourg St. Marceau,
the other of the Gate of St. Bernard.
A set of twelve Views of Shipping; published in
London by Ar Tooker.
NOORDE, Coenelis van, painter and engraver,
was born at Haarlem in 1731. He was the scholar
successively of F. Decker and F. H. Jalgersma,
and afterwards became master of the Haarlem
school of design. He died in 1795. Among his
works may be named :
His own portrait, in chalk and Indian ink.
„ „ a woodcut.
Portrait of Frans Hals, a mezzotint.
A View of Haarlem, engraving after J. Van Eyck.
A Landscape with Cow (etching).
Van Noorde signed himself C. V. N.
NOORDEEWIEL, Hendrik, a painter on glass,
who was one of the founders of the ' Pictura ' fra-
ternity at the Hague in 1666.
NOORDT, Jan van, was a painter of the 17th
century, who produced emblematical subjects,
bathing nymphs, and also portraits, some of
which have been engraved. Strutt cites him
as an engraver, on account of an etching dated
1645, of a ' Landscape with Ruins,' probably after
P. Lastmann. Bartsoh mentions another after P.
van Laer ; and the portrait of Prince Baltazar
Carlos of Spain, inscribed, ' Juan de Noort fedt^
is probably by him.
NOORT, Adam van, painter, was born at
Antwerp in 1557. He was the son of Lambert
van Noort, and shares with Otho Van Veen and
others the honour of guiding the youthful steps of
Rubens, The facts of his life are obscure. He has
Noort
PAINTERS AND ENGRAVERS.
ITormand
sometimes been represented as a brutalized victim
of dissipation, but considerable doubt hangs about
many of the traditions to that effect. He is said
to be the author of the ' Tribute of St. Peter,'
in the church of St. James at Antwerp, in which
case he must have had a genius for colour only
inferior to that of Rubens. Van Noort's daughter
became the wife of Jordaens, who was his pupil.
Pictures under the name of Van Noort are very
rare, although in his long Jife he must have
produced a great number. They pass, no doubt,
as a rule, under the names of his various pupils.
Van Noort died at Antwerp in 1641. Among his
works we may name :
Gallery. Christ blessing the Children.
Brussels.
Ghent.
St. Michael's ]
Church.
The Cure of the Lame Man,
A ' Standard-bearer ' at Munich, now tentatively
ascribed to Hendrik Goltzius, is perhaps by Adam
van Noort.
NOORT, Arthds van, a painter on glass, who
flourished at Nymeguen in the 16th century.
NOORT, Lambekt van, historical painter, was
born at Amersfort about 1620, and became a
master of the guild at Antwerp in 1647. He was
the father of Adam van Noort. He died in 1571.
In the Antwerp Museum there is a 'Nativity' by
him, signed Lamhertus a Noort, Invert, : pingehat
Ao. 1665, as well as fifteen other pictures. At
Brussels the Museum possesses an 'Adoration
of the Shepherds,' and a ' Descent from the Cross.'
Lambert designed the windows in St. John's
Church at Gouda, and himself painted two of
them, which were dated 1651 and 1559. He also
practised with success as an architect.
NOORT, PiETEB VAN, a little known Dutch
painter of the 17th century, who painted fish and
still-life.
NOORTlG, Jan, (or Noortbys,) a native of Fries-
land, and painter of genre subjects in the manner
of Bega. According to Kramm he was an amateur.
He flourished about 1660.
NOOTT, Wemmer, a native of Arnhem, who
flourished between 1670 and 1760. He lived chiefly
at Emmerik, where he painted perspectives, and
excelled in the imitation of sculptured surfaces.
NOP, Gebbit, an obscure painter, who was
born at Haarlem late in the 16th century. He
lived for a time in Germany and Italy, where he
painted history and portraits. He died in 1622.
NORBERT, Pater. See Bahmgartner, Joh.
NORBLIN DE la GOURDAINB, Jean-Pierre,
a painter and etcher, was bom at Misy, near Sens,
in Burgundy, in 1745. He was a pupil of
Casanova. In 1774 he visited Poland, and founded
a' school for painters at "Warsaw ; he also became
court-painter to King Stanislaus, by whom he was
subsequently knighted. He returned to Prance
in 1804, and died in 1830. His most important
works, seventy-seven etchings of scenes from the
Bible, heads, and landscapes, are in the style of
Rembrandt. He signed his plates with the initials
N; N. f.\ N. 1776. W. (that is Warsowiae), or
a monogram.
NOKBLIN DE LA GODRDAINE, Sebastien
Louis Guillaume, the son of Jean-Pierre and an
historical painter, was born at Warsaw in 1796.
Taken to Paris when young, he, studied under
Regnault and Blondel, and in the Ecole des Beaux
Arts. In 1823 he obtained the second, and in
1825 the first, grand jrrix ; which enabled him to
pursue his studies in Rome. He returned to France
in 1882. There are several of his works in the
church of St. Louis en I'lsle, in Paris, and the
Orleans Museum possesses his ' Death of Ugolino.'
NORCINO (or Norcini). See Paeasolb.
NORDBN, Frederick Ludwig, a Danish naval
captain and draughtsman, was born at Gliickstadt
in 1708. He travelled for Christian VI. in Egypt
and Nubia, and coming to England, he published
with his illustrations, 'Travels in Egypt and
Nubia,' and 'Ruins at Thebes' (1741). He died
in 1742. There is another edition in French
(Copenhagen; 1756), in which the plates are en-
graved by M. Tycher.
NORDEN, John, an English artist, was an
eminent engraver of topographical subjects. An-
thony W^ood conjectures, with great probability,
that he was the author of several tracts which he
enumerates, and thinks he was born in Wiltshire,
about the year 1646. He was a commoner of
Hart Hall, Oxford, in 1564, and took the degree of
Master of Arts in 1673. He resided at Hendon, in
Middlesex, was patronized by Lord Burleigh, and
his son, Robert, Earl of Salisbury, and was sur-
veyor of the King's lands in 1614. He died about
1626. His principal work, as an engraver, was his
' Speculum Britanniae,' or an Historical and Topo-
graphical Description of Middlesex and Hertford-
shire, with a frontispiece and maps. He also
engraved a 'View of London' in 1609, with a
representation of the Lord Mayor's Show ; and a
series of costumes.
NORGATE, Edward, "limner,"' was the son
of Dr. Robert Norgate, master of Bennet College,
Cambridge, where he was born. He was brought
up by Nicholas Felton, Bishop of Ely, who married
his mother. He showed early a strong inclination
for Heraldry and Illumination, As he became not
only one of the best artists in the latter branch of
art, but also an excellent judge of pictures by the
old masters, he was sent to Italy by the Earl of
Arundel to make purchases for him in that country.
Fuller speaks of him as the best illuminator of his
time, and he became Windsor Herald and Clerk
of the Signet. Fuller says that he died at the
Herald's Office the 23rd December, 1660, but Dal-
laway says that his ' Miniature, or the Art of Lim-
ning,' in his own hand, is dated 1664. Among his
best works were a letter from James I. to the
' Sophy ' of Persia, and the letters-patent appointing
the Earl of Stirling Governor of Nova Scotia. The
latter was found in the last century, and was at
first attributed to Van Dyck.
NORIEGA, Pedro, a Spanish historical painter
of little note, who was living at Madrid in 1668.
NORMAND, Charles Pierre Joseph, designer,
engraver, and architect, was bom at Goyencourt
(Lourme) in 1765. He was instructed by M.
'Thieriy and Gizors, and in 1792 obtained a prize
and went to Rome, where he pursued his studies.
He exhibited in the Louvre in 1800 and 1802,
published a number of works with plates, and pre-
pared others for the 'Annales du Mus^e,' 'Les
vies des peintres, par Landon,' and ' Nouveau
parallfele des ordres d'architecture des Grecs, des
Remains, et des auteurs modernes ' (1819), Among
his other plates may be mentioned :
The Miracle of the Loaves ; after Raphael.
The Ceiling of the Sistine Chapel ; after Michelangelo.
He died in Paris in 1840.
NOEMAND, LoDis Marie, son of the above,was
taught design by Lafitte, and engraving by his
father. He was born in Paris in 1789. Besides
216
Norsiui
A BIOGRAPHICAL DICTIONARY OF
Nothnagel
the plates for a large number of books, he engraved
the ' Marriage at Cana,' after Paul Veronese, and
other important works.
N0R8INI (or Noksino). See Parasole.
NORTHCOTE, James, an English historical and
portrait painter, was born at Plymouth in 1746.
His father was a watchmaker, and he for sonie
time assisted in the same business, but with his
whole mind bent upon being a painter. The fame
of his countryman, Joshua Reynolds, inflamed his
desire ; and the kind view that some of his towns-
men took of his attempts in art, and their friend-
ship or acquaintance with the President, introduced
Northcote to his notice. In his 25th year he was
permitted to enter the studio of Sir Joshua, and he
remained in the employment of that master for
about five years. In 1777 he went to Rome, to
see, as his biographer says, ' if fame reported truly
of the prime works of the chiefs of the calling.' The
journey at least enabled him to talk of Michelangelo,
Raphael, and Titian. This he never ceased doing,
and his productions served as commentaries. North-
cote returned to England in 1780, and applied him-
self to the long life's work which did not come
to an end till more than fifty years had passed.
Among his best pictures may be named, ' The
Death of Wat Tyler' {City of London Oallei-y);
' The Murder of the Children in the Tower ; ' ' The
Entry of Bolingbroke and Richard II. ; ' ' Hubert
and Arthur ; ' ' The Earl of Argyll asleep ; ' ' Lidy
Jane Grey ; ' Prospero and Miranda ; ' ' A Vulture
and Snake;' 'A Lion Hunt,' and some others of
the like kind, in which he showed a considerable gift
for animal painting. His portraits are numerous ;
but whatever veneration he felt for Titian, or for
his master Sir Joshua, he failed to emulate their
works. In 1796 he published a series of ten en-
gravings from his own pictures, the subject being
the contrasted careers of ' A Diligent ' and ' A
Dissipated Maidservant,' a sort of female version
of Hogarth's ' Idle and Industrious Apprentice.'
It is a very feeble performance. There is a por-
trait of Northcote, by himself, in the National
Portrait Gallery, and another in the gallery of
Haarlem. In the forrner collection there are also
portraits by him of Jenner and Lord Exmouth.
Northcote was elected A.R.A. in 1786 ; R.A. in
1787 ; and died in 1831.
Northcote exercised the pen as well as the pencil.
His earliest known literary productions are some
papers published in ' The Artist,' entitled ' Origin-
ality of Painting ; ' ' Imitators and Collectors ; '
' A Letter from a discontented Genius ; ' ' Character
of John Opie ; ' ' Second Letter of a discontented
Genius ; ' ' On the Imitation of the Stage in Paint-
ing ; ' ' The History of the Slighted Beauty ; ' ' Ths
Dream of a Painter, an allegory.' His most im-
portant performances as a writer, are his ' Life of
Sir .Joshua Reynolds,' containing anecdotes of many
distinguished personages, and a brief analysis ; to
which are added, ' Varieties on Art,' published in
1813, in quarto. A supplement appeared in 1816;
and an octavo edition in 1819, with considerable
additions. In 1828 he published an octavo volume
of ' One hundred Fables,' original and selected,
with engravings on wood from his own designs. In
1830 appeared the ' Life of Titian ; ' and, after his
decease, a second volume of Fables, published under
the title of 'The Artists' Book of Fables," and
illustrated with numerous woodcuts, executed
under the direction of Harvey. The curious
process Northcote made use of in designing these
216
cuts has been often described. He clipped figures
of animals out of all kinds of books, papers, &c.,
and selecting such as fitted the fable to be embel-
lished, pasted them down to paper in the required
places, filling in backgrounds with his pencil. The
designs thus made were freely interpreted by the
engraver.
NORTHEN, Adolf, battle painter, was bom at
Miinden in Hanover, in 1828, studied from 1847
to 1861 at the Academy of Diisseldorf. In his
first productions he painted scenes from the wars
of Napoleon I., and brought himself especially into
notice by his ' Battle of Waterloo' (1856), which
is in possession of the King of Hanover, and at a
later date he executed several lively and charac-
teristic sketches from the Franco-German war.
He died at Diisseldorf in 1876. The following are
some of his best pictures :
Guerillas with captured French Soldiers. 1852.
The Skirmish on the Gohrde. Hildesheim Mus. 1852.
Napoleon's Retreat from Russia.
Bpis'ode at Gravelotte.
The Prussian Guards at Komgr'iAz.
Attack of the 16th Uhlan Regiment, near Vionville.
NORTON, Christophee, an English engraver in
the latter half of the 18th century. He studied in
the St. Martin's Lane Academy, and at Rome in
1769, gnining a Society of Arts' premium the same
year. There are plates by him after Pillement,
Vaudevelde, Canot, &c.
NOSADELLA. See Brizzi, Franc.
NOTER. See Db Noter.
NOTER, AuGUSTE Herman db, the son of P. P.
Noter, was born at Ghent in 1806. He painted
landscapes and scenery in winter in the style of
the Wouvermans. He died in 1889.
NOTER, Pierre FRANgois de, was bom at Wal-
hem, near Malines. He was the son of an architect
and a pupil of Van Gheel the sculptor, but in 1811
devoted himself entirely to painting, in which he
rose to some eminence. His pictures represent
landscapes, shipping, and above all streets and
the interiors of churches. In 1824 he was a
member of the Academy of Amsterdam, and Pro-
fessor in that of Ghent. In most of the Museums
of Belgium, Holland, and the north of France his
pictures are to be found. He died in 1842.
NOTERMANN, Emanuel, animal and genre
painter, was born at Oudenarde in 1808, and
studied in the Academy at Ghent, but in 1830 he
became a scholar of Maes-Canini, and finished his
art education under Peter Kremer. His paintings
represent domestic scenes by day- and candle-light,
consecrations of churches, carnivals, &c. He died in
1863. His best known works are : 'A Spaniel,' and
' A Poacher bewailing the Loss of his Dog.' Among
his etchings, which are rare, ' The Death of Anton
Van Dyck,' after P. Kremer, is the best.
NOTHNAGEIi, Johann Andreas Benjamin, a
German painter and engraver, was born at Buch,
in the principality of Saxe-Coburg, in 1729. He
resided at Frankfort, and worked at the manufacture
of wall-papers under Lentzner, after whose death
he married his widow and continued the business
himself. He acquired considerable reputation as a
painter of laijdscapes with merry-makings, in the
style of Teniers ; but he is now more known as an
engraver. His best productions are a number of
heads and busts, in w'nich he has imitated the style
of Rembrandt with great success. His plates
amount to sixty-five, marked with .A', and a nail,
or B.N.F. He died at F.ankfort in 1804.
Notti
PAINTERS AND ENGRAVERS.
Nvuaez
NOTTI, Gheeardo dalle. See Honthorst.
NOUAILHIER, (or Notlier,) was the name of
a family of enamel painters of Limoges from the
16th to the 19th century : — CouLY, or Colin, was
burgomaster from 1513-31. Jacques was bom in
1605, and flourished under Louis XIV. ; he painted
the ' Adoration of the Magi,' after Van Aken, in
the Louvre at Paris. Pierre, was born in 1657,
and flourished 1686 — 1717. Jean-Baptiste was
born in 1752, and died in 1804. A collection of
the works of these artists is in possession of M. de
Lille-Loture at Orleans.
NOVA, Pecino de. There were several artists
at Bergamo of this name. Tassi quotes documents
which prove that Pecino and Piero de Nova were
two different men. The former was the son of
Alberto de Nova, a painter. Pecino worked at
intervals at Santa Maria Maggiore, Bergamo, from
1363 to 1381. In 1375 Piero, who was probably the
brother of Pecino, Pecino, and Michele de Ronclio,
a Milanese, were all working in conjunction at the
above church. Fragments of frescoes by one of
the Novas can still be seen in the belfry, together
with a 'Virgin and Saints,' 'The Epiphany,' and
other Scripture subjects. On the front of a house
in the Contrada Sant' Andrea, Bergamo, some re-
mains of frescoes by one of the Novas can also be
seen. We may also name two altar-pieces at
Bergamo :
Virgin and Child, with SS. Catharine, Francis, and
donors.
Virgin and Child, with SS. Bartholomew and Agatha.
There are other works of theirs in the Loochis
Carrara Gallery.
Pecino de Nova was still working at Bergamo
in 1399, and was buried there 6th June, 1403.
NOVARRA. See Ricci.
NOVELIERS, Pierre. In 1606, a painter of this
name was appointed conservator of the pictures in
the palaces of Brussels and Tervueren.
NOVELIERS, Salomon, son of the last-named.
In 1618 he succeeded to the office of his father, and
Was also named painter to the court. In 1613 he
was commissioned to catalogue the pictures left by
Charles de Croy, Due d'Arschot. A certain David
Novelises is supposed to have been a second son
of Pierre.
NOVELLANUS. See Neuvel.
NOVELLARA. See Oesi.
NOVELLI, Feancesoo, the elder, an engraver,
was born at Venice in 1764. After learning the
principles of his art under his father, he attended
the Academy of his native place for some time,
and then went to Rome. In conjunction with
Cumano he etched the works of Rembrandt with
Buch skill that his copies have been often mistaken
for the originals ; he also imitated the designs
of Mantegna with success, and engraved that
artist's 'Madonna della Vittoria' (about 1800),
The date of his death is not recorded. He was a
member of several academies. He signed his prints
with a monogram in a circle. His son of the same
name was also an engraver.
NOVELLI, PiETRO, painter and engraver, called,
from his birthplace, Monrbalese, or Moerealesb,
was born in 1603. He resided for a long time in
Palermo, but in later life, it is said, he visited
Rome, which city, ae well as the former, possesses
several pictures from his hand. He was living up
to 1660. His masterpiece is the ' Marriage at
Cana,' in the refectory of the Benedictines at Mon-
reale. Novelli's style is a little like that of Cara-
vaggio. His life was published by Agostino Gallo
(Palermo: 1829).
NOVBLLO, Giovanni Battista, a painter of
Castelfranco, and pupil of the younger Palma. In
the neighbourhood of Castelfranco are some good
altar-pieces by him. He was (he master of Pietro
Domini. He was born in 1578, and died in 1652.
NOYLIER. See Nouailhee.
NUERI, AvANzio, painter, was born at Castello,
near Rome, studied under Pomerancio, and was
employed by Sixtus V. His works are to be found
in the churches of Rome. He was born in 1562,
and died in 1629.
NUIJEN, WuNAND Jan Joseph, (Nuyen,) painter
and designer, a scholar of A. Schelfhout, was born
in 1813, and died at the Hague in 1839. In his
sixteenth year he exhibited a landscape at Glient,
for which he received a prize ; some time after he
obtained a first prize from the Felix Meritis society
at Amsterdam. In 1838 a winter scene, which he
exhibited at Ghent, attracted attention, and led to
his nomination as a member of the Academy of the
Fine Arts at the Hague. He was also a member
of that of Antwerp and of the Netherlands Insti-
tute. His premature death prevented the full
development of his talents. There is a landscape
with ruins by him in the Amsterdam Museum,
which is considered one of his finest works.
NUMAN, Hermanus, painter and etcher, was
born at Bzinge, near Groeningen, in 1744. He first
designed and painted birds and landscapes, but
devoted himself later on to portraiture in oil and
pastel, and studied engraving under Le Bas at
Paris. He produced many portraits at Amsterdam,
and published in 1797 a series of etchings repre-
senting Dutch country houses. He died in 1820.
NUNEHAM, Simon Haecouet, Viscount, was an
amateur etcher. There are various landscape plates
by him, some after Paul Sandby, and some ' Views
of the Ruins at Stanton Harcourt.' He became the
second Earl Harcourt, and died in 1809.
NUNES, Philip, (or Fea Philipe das chazas,)
a Portuguese artist, bom at Villa Real de Tras-os-
montes. He entered holy orders in 1591, and took
the name of Fra Philipe das Chazas (of the wounds).
He was one of the most celebrated artists in
Portugal in his time, and author of ' Arte de
pintura, symetria e perspectiva,' 1615.
NUNEZ, JnAN, one of the earliest of the painters
of Seville, lived at the commencement of the 16th
century, and was a scholar of Sanchez de Castro,
and married Ana de Castro, a relation of that master.
The greater number of his works have been de-
stroyed. In the cathedral of Seville there is still
a picture by him representing the ' Virgin with
the dead Christ in her arms, accompanied by St.
Michael and St. Vincent Martyr j' in the fore-
ground are several figures on their knees adoring
the Virgin. This picture Cean Bermudez compares
to the work of Albert Diirer.
NUSEZ, Pedeo, was born at Madrid early in the
17th century. He studied under Juan de Soto,
and afterwards at Rome, it is said under Gueroino.
On his return he painted a series of the Spanish
sovereigns for the theatre of the Alcazar at Madrid.
In 1625, by command of Prieto, General of the
Order of Mercy, he executed some works for the
cloister of the convent of the order. He died at
Madrid in 1654, having unsuccessfully competed
with Angelo Nardi for the post of King's painter.
217
Nunez
A BIOGRAPHICAL DICTIONARY OF
Ifttzi
NUNEZ DE VILLA VICENGIO, Pedeo, a chevalier
of the order of St. John, was born at Seville in
1635, of an illustrious family. He studied painting
for amusement, and placed himself under the direc-
tion of Murillo, to whom he became the most
attached friend. Such was his progress in the art,
that from an amusement it became his constant
occupation. Asa knight of the order of St. John,
he was obliged to perform the usual expedition
{las carabanas) ; and on his arrival at Malta he
placed himself under Matteo Preti, called II Cala-
brese, who was also a knight of the same order ;
and with hira he increased his knowledge, particu-
larly in chiaroscuro. On his return to Spain he
rejoined Murillo, who loved him tenderly, and for
whom he felt such attachment and veneration that
he always resided with him. The two conjointly
founded the Academy of Seville. The master died
in the arms of his scholar. Villavicencio, like
Antolinez, Tobar, and Meneses Osorio, approached
so near to the manner of Murillo in painting cliil-
dren, that it is sometimes diflicult to decide be-
tween the two ; he was also an excellent portrait
painter. He died at Seville in 1700. There is a
picture by him A Alton Towers, the seat of Lord
Shrewsbury, partaking of the dark manner of Cala-
brese. It i-epresents the Virgin sewing, and Joseph
embracing the child Jesus. The Madrid Museum
contains a picture by him of ' Boys playing with
Dice ; ' and the Suermondt Gallery at Cologne had a
' Child Jesus, in a Landscape.' The Carmen Calzado,
at Seville, has also some genre pictures and por-
traits by him, including his own portrait.
NUNZIATA, ToTO (or Antonio del), painter,
was a pupil of Ridolfo Ghirlandaio. He is said to
have visited England in 1531.
NOSBIEGBL, Johann, (or Nussbiegel,) an en-
graver, born at Nuremberg in 1740, was a son
and scholar of Geobs Paul Nusbiegel (who died
1776). He studied perspective under Stettner,
and attended the Academy at Nuremberg under
Preissler. He engraved several plates and por-
traits for Lavater's works, and executed some
others after the designs of Chodowiecki. One of
his best plates is the ' Death of Sohwerin,' after
Berger. He died in 1818.
NUTI, GitTLiA. See under Mabini, Ant.
NUTSCHIDEL. See Nedechatel.
NUTTER, William, an English engraver, who
studied under J. Smith and Bartolozzi, and practised
in the stippled manner. He was born in 1754.
There are plates by him after Reynolds, Morland,
Westall, Hoppner, Wheatley, and Russell. He
died in Somers Town in 1802.
NUTTING, Joseph, was an English engraver,
who resided in London at the beginning of the
17th century. He was principally employed by
the booksellers, and executed among others the
following portraits :
Charles I., with the persons who suffered ia his cause.
Mary Capel, Duchess of Beaufort ; after Walker.
Matthew Mead, father of Dr. Mead.
Sir John Cheke.
Lucius Gary, Viscount Falkland.
Robert Pierpoint, Earl of Kingston.
George St. Loo, Commissioner for the Navy.
Henry Sacheverel, D.D.
John Locke.
Aaron Hill.
G. Parker, the Almanack-maker.
Johannes Jacobus Scheuchzerus ; after Melchior Fuss-
linus.
WiUiam Elder, Engraver ; after Faithorne.
Dr. Monk, Bishop of Hereford, who died in 1661.
218
NUVOLONE, Carlo Francesco, (called Pan-
FILO,) was the eldest son of Panfilo Nuvolone, and
was born at Milan in 1608. He received his tirst
instruction from his father, but was afterwards a
scholar of Giulio Cesare Procaccini. He abandoned"
the principles of that master to imitate the works
of Guido Heni, and some of his pictures, particularly
those of the Virgin, approach so near to the style
of the latter, that he acquired the soubriquet of
' the Guido of Lombardy.' In the oratory adjoin-
ing the church of San Vincenzio at Piacenza is his
'Purification of the Virgin,' considered his best
work. In the church of San Vittore, at Milan,
is a fine picture by him of ' St. Peter's Miracle at
the Gate of the Temple.' Other works of his are in
public buildings at Parma and Cremona. He
also painted portraits with great success. In the
year 1649, when the Queen of Spain visited Milan,
he was selected to paint her portrait. He died in
1661.
NUVOLONE, Giuseppe, also called Panfilo, was
the younger brother of Carlo Francesco Nuvolone,
and was born at Milan in 1619. Possessed of a
fervid imagination, and great facility of hand, his
works form a striking contrast to those of his
brother. During a long life, he painted many
altar-pieces for the churches at Brescia, and other
cities in the states of Venice. A ' St. Jerome ' in
the church of San Tommaso at Piacenza is regarded
as one of his best productions. Towards the latter
part of his life his powers became languid and
feeble, which is not extraordinary, as he continued
to paint till his eighty-fourth year. He died in
1703.
NUVOLONE, Panfilo, was a native of Cremona,
and flourished about the year 1608. He was one
of the ablest disciples of Giovanni Battista Trotti,
and painted history in the style of that master. In
the church of the monastery of SS. Domenioo and
Lazzaro at Milan, is one of his principal works,
representing the ' Rich Man and Lazarus ; ' and in
the cupola of the church of La Passione, the ' As-
sumption of the Virgin.' Zani places his death in
1651.
NUVOLSTELLA. See Nivolstella.
NUYEN. See Nuijen.
NUZI, Allegretto, (or Nucci di Nuzio,) called
Allegretto, or Gbitto, da Fabriano, was born at
Fabriano in the 14th century, and first appears on
the Register of Florence in 1346, at which date he
may be said to have brought to that city the man-
ner of the Umbrian school. Nothing is known of
the details of his life, and the earliest picture signed
and dated by him is a ' Madonna and Child, between
the Archangel Michael and St. Ursula,' with the
six donors kneeling on each side of the throne,
which bears the date of 1366. In 1369 he executed
the altar-piece now in the sacristy of the catliedrrd
of Macerata ; and in 1372 he completed the ' Virgin
and Cliild,' now in the possession of Signer Romo-
aldo Fornari, of Fabriano ; the same gentleman
also possesses an ' Ecce Homo ' that can be assigned
to Allegretto. In the Gallery at Berlin are two
panels by this artist, viz., a 'Virgin and Child,
between SS. Catherine and Bartholomew,' and a
' Crucifixion.' Crowe and Cavalcaselle have attri-
buted to this artist an altar-piece now in the
sacristy of the Fabriano cathedral, containing the
' Virgin and Child, with SS. Bartholomew, John
the Evangelist, and Mary Magdalene ; ' as also the
' St. Augustine between SS. Nicholas of Tolentiuo
and Stephen,' in the sacristy of Sant' Agostino,
Nuzzi
PAINTEES AND ENGEAVERS.
Nyta
in the same city. According to Ricci, Allegretto
is the author of the frescoes in Santa Lucia of
Fabriano, which represent the ' Death and Coron-
ation of the Virgin,' the ' Crucifixion,' and other
sacred subjects, executed between 1345 and 1349.
Other paintings by him are to be found at Canoello,
near Fabriano. in which church he was buried in
1385. He signed his pictures, Allegrettus Nutii
de Fabriano.
NUZZi, Mario, called Mario da' Fiori, or Mario
DELLA Penna, was bom at Penna, in the diocese
of Fermo, in 1603, and was a scholar of his uncle
Tominaso Salini, a flower painter. He chiefly
resided at Rome, where his pictures of fruit and
flowers were held in the highest estimation. But
from using sometliing of a noxious quality in the
preparation of his colours, his works soon lost their
original freshness, and many of them have almost
entirely perished. He was in 1657 made a member
of the Academy of St. Luke, and died at Rome in
1673. He was much employed in painting garlands
to decorate figures of the Virgin, Saints, and other
religious subjects. The church of Sant' Andrea
della Valle at Rome contains a wreath of flowers
painted by him round Andrea Camassei's portrait
of St. Cajetanus. A ' Bird Concert ' was engraved
after him in mezzotint by Earlom.
NYMEGBN, (or NIMEGEN, or NIMWEGEN,)
DiONlJS VAN, son and scholar cf Elias, was bom at
Rotterdam in 1705. He painted similar subjects
to those by his father, and also excelled in por-
traiture. It is related that at the age of eighty-
one he painted, without the aid of spectacles, a
perfect likeness of a young lady. His crayon
drawings are also much esteemed. He died in
1798 or 1799.
NYMEGEN, Elias van, was born at Nymeguen
in 1667, and was taught the first elements of the
art by his elder brother, who was an indifferent
painter of flowers and portraits ; but on the death of
his instructor, when he was little more than fourteen
years of age, lie resolved to dispense with further
assistance, and applied himself to the study of
nature till he became a tolerably correct designer
of the figure, and acquired a competent acquaint-
ance with perspective and architecture. He also
excelled in painting landscapes and fiowers. His
principal occupation was ornamenting the ceilings
and saloons of mansions in Holland, with emblem-
atical and historical subjects, embellished with
bas-reliefs and other accessories. His talents re-
commended him to the patronage of the Princess
of Orange, who employed him in adorning the
apartments of her different palaces, in which he
was occupied several years. He died atEotterdani
in 1755.
NYMEGEN, Gerard van, was the son of Dionijs,
and was born at Rotterdam in 1735. He was in-
structed by his father, and at a very early age painted
the portrait of Prince William V., which was en-
graved by Beauvarlet ; but he applied himself more
particularly to landscape, in which he made the works
of Ruysdael, Everdingen, and Pynacker his models.
His best pieces are mountainous landscapes, and
forest scenery with rivulets, ornamented with
animals and figures. He painted many portraits,
and made drawings and copies after Jacob Ruys-
dael, Wynants, Hackaert, and Hobbema. There
exist twenty-one etchings of landscapes by him.
He died at Rotterdam in 1808.
NYMEGEN, Susanna Catharina van, born
ViJGH, the wife of Gerard van Nymegen, has left
several drawings of landscape of some merit. She
died in 1805.
NYMEGEN, Tobias van, the younger brother of
Elias van Nymegen, was born at Nymeguen about
the year 1670. His technical education was similar
to that of Elias ; and he pursued the same branch
of the art. He was invited to the court of the
Elector Palatine, in whose service he remained till
his death, the date of which is not ascertained.
NYMEGEN, (or NIMWEGEN,) Willbm van,
of Haarlem, was admitted as master into the
Guild of St. Luke, at Delft, in 1684. He was cele-
brated for imitating engravings with the pen. He
died in 1698.
NYPOORT, Jdstds van (or van der), painter and
etcher, a little-known artist, who is, nevertheless,
of some importance. He painted scenes of peasant
life, often humorous, several of which he etched
in the style of Ostade. He flourished about 1680.
Plates :
Pat. Joan. Maldonatus ; an Angel beside him and Death
in the distance.
Zoylus ; " De gustibus non est disputandum."
Peasants in a Eoom.
Interior of Farm-house, with the Farmer and his Family.
A Knife-grinder before a Farm-house.
A Peasant with his Wife and Child.
Peasants drinking and playing Cards.
Peasants and Children in an interior.
Three Peasants smoking and drinking.
Group of three Boors in a Cottage.
The Fruit-dealer.
A company of Peasants
Three Card-players.
A Boor looking into an empty Jug.
A village Surgeon and a Boor with toothache.
Landscape, with a Sacrifice.
A Genius laying a Halberd on the breast of a winged
old man asleep under a tree.
A book-plate tor the Prince-Biihop, Carl von Olmutz.
NYS, Jacques de. See Denys.
NYTS. See Nbyts.
219
A BIOGRAPHICAL DICTIONARY OF
Oolitervelt
0
0. See Van dee 0.
OAKLEY, OcTAvins, a painter in water-oolours,
was bom in 1800. After having practised as a por-
trait painter at Leamington and at Derby, he came
to London in 1842, was elected an Associate of the
Water-colour Society, and a fidl member in 1844.
His pictures consist chiefly of rustic figures, groups
of gypsies, &c., and in his later years of landscapes.
He began to exhibit at the Royal Academy in 1826,
and ceased in 1860. Most of his contributions to
that exhibition were portraits. Oakley died at
Bayswater in Marcli, 1867.
OAKMAN, John, an English wood engraver,
born at Hendon, who practised about the middle
of the 18th century. He was chiefly employed
on illustrations for children's books. In his later
years he turned ballad and novel writer, and died
in indigence in 1793.
OBACH, Kaspae, painter, engraver, and litho-
grapher, was born at Zurich in 1807, and was a
pupil of Fiissli. He went to Stuttgart in 1826,
and made many landscape sketches in pencil, which
he reproduced in water-colours or lithographed.
He died at Stuttgart in 1865.
OBEET. A good Flemish picture of still-life
(fruit, oysters, and goblets) in the Madrid Museum
bears this name.
OBERMANN, Antonis, painter and etcher, was
born at Amsterdam in 1781, and died in the same
city in 1850. He painted landscapes, horses and
cattle, flowers and fruit, and was a member of
the Academy of his native place. At Haarlem
there is a ' Vase of Flowers ' by him. He etched a
series of twenty ' Studies of cattle, sheep,' &c.
OBERTO, Fkanoesco da, an artist who painted
at Genoa in 1368. His name appears in the Register
of Painters of Genoa immediately before tliat of
Lodovico Brea, but nothing is known of his life.
OBIDOS, JosEPHA DE, a Portuguese artist, was
the daughter of Balthazar Gomes Figuiera, said to
have also been -o, painter, and was born at Seville
about 1630. She must have studied painting and
other arts in Spain ; but she was still young when
her father returned to Obidos, in Portugal, taking
her with him. She painted in that country a
number of pictures in oil for the churches ; also a
portrait of Marie Fran9oise Isabell de Savoie, which
was sent to Victor Amed^e, Due de Savoie, before
their marriage. She likewise painted flowers, fruit,
&c., and engraved ; for in the ' Statutes of the Uni-
versity of Coimbra, 1654,' there is an engraving
signed ' Josepha Ayala (her mother's name) Obidos,
1653.' In the church of Saint Peter at Obidos,
where she died, and in which she was buried in
1684, there are many of her pictures; also in the
Academy at Lisbon, at Evora, &c. A ' St. John,'
described as being in the manner of Velvet Breu-
ghel, is dated 1680.
OBREQON, Pedro de, the younger, was born
at Madrid about 1597. He was a disciple of Vin-
cencio Carducho, and proved a reputable painter of
history and genre subjects, particularly in pictures
of an easel size, of which there are several in the
private collections of Madrid. Of his larger works.
Palomino particularly notices his picture of 'The
220
Trinity,' in the convent of La Merced, and ' The
Immaculate Conception,' in the church of Santa
Cruz. He died at Madrid in 1659. He was an
excellent engraver ; as were also his two sons
DiESO and Maeoos Obeegon, the former of whom,
in 1683-4, prepared thirty-six plates of Birds and
Beasts to illustrate a work by Andres de Valdecebro ;
also other engravings in 1687 and 1699. Pedeo
DB Obeegon, 'the elder,' was a miniaturist and
illuminator of books of devotion, who worked for
the cathedral of Toledo, in 1564 ; but there are no
further particulars of him. He may have been the
father of the younger Pedro. Marcos de Obregon
became priest, and lived until 1720.
OBRY, Adeien, a French designer and painter
of windows, who was at work in the year 1532 at
the Chateau d'Auxy.
OBRY, Jean, was a French miniaturist of some
talent, who embellished many manuscripts about
the year 1484. He was a native of Amiens.
OCCHIALI, Dagli. See Feebantini; also
WiTTEL.
OCH, Geoeges, an obscure French landscape
painter, who flourished at the beginning of the
19th century. He was a pupil of Cioeri. His chief
work was a view of Paris from the towers of Notre
Dame.
OCHILICH, JoHANN CoNEAD, a painter of land-
scapes, animals, and portraits, who flourished at
Nuremberg at the end of the 18th century. His
education was partly gained at Munich. His works
were mostly copies from the old masters.
* OCHOA, Feanoisoo, a painter of Seville and
pupil of MuriUo. He is believed to be identical
with Francisco Antolinez y Sarbia (o. v.).
OCHS, Feiedeioh, was born in Basle, and studied
in Paris under Augustin. He migrated to St.
Petersburg, where, about 1812, he had a consider-
able reputation. His miniatures were good and
expressive likenesses, and agreeable in colour. The
date of his birth and death are unknown.
OCHTERVELT, Jacob, (sometimes wrongly
called Jan, and ITchteevblt or Achteevelt,) was
born perhaps at Rotterdam. In 1667 he was a
candidate for the presidency of the Brotherhood of
St. Luke in that city. In 1672 he was still working
there. In 1674 he painted the portraits of the
Regents of the lepers' hospital at Amsterdam. He
died before 1710. He formed himself on the ex-
amples of Metsu and Terburg, more especially of
the latter. In some respects his best work does
not fall far below the level of the last-named artist.
Good pictures by Ochtervelt, in good condition,
are, however, very scarce. The following list
includes most of them :
Amsterdam. Museum. The Governors of the Zeprozcn-
huis. (Signed /. ochtendt
fecit,'lQU.)
Berlin. Museum.. The Last Testament.
Brussels. Arenburg Coll. Interior of a Kitchen.
Cologne. Walraff Mus. Two Musicians.
Copenhagen. Museum. Lady playing the violin.
Dresden. Gallery. Woman with a Girl and Dog
(purchased as hy Jerhard auf
der Fold !).
England, «.„W».|j„y,„l^;^„g^_
O'Connor
PAINTEES AND ENGRAVERS.
Odevaere
Hague. Museum. Lady buying Fish (a very good
exaviple).
Eotterdam. Museum. ' La Collation ; ' young man and
woman eating oysters. (Fer-
haps his masterpiece.)
Fetersburg. Hermitage. Buying Fish.
» » Buying Grapes.
» n Young Man singing to a young
■Woman.
» „ The Breakfast Party.
O'CONNOR, James A., an Irish landscape painter,
bom at Dublin in 1793. He was brought up as an
engraver by his father, who followed that profes-
sion. In 1813 he came to London with his friend,
Francis Danby, but his means were soon exhausted,
and he made his way on foot to Bristol, whence
he contrived to get a passage back to Dublin. In
1822 he returned to England, and from that time
he chiefly resided in London, with the exception
of visits to Brussels, Paris, and Rhenish Prussia.
But his abilities were not recognized, and he had
a hard struggle for existence. He occasionally
exhibited at the Royal Academy from 1822 ; also
at Suffolk Street. He died, in embarrassed circum-
stances, at Brompton in 1841. There are eight of
his pictures in the Kensington Museum. In style
they may be classed with the work of Richard
Wilson.
OCTAVIEN, FBANgois, a French painter, was
born at Rome about 1695. He was received into
the Paris Academy in 1725, as a genre painter. His
reception picture, ' The Fair at Vesoul,' is now in
the Louvre. He died in Paris in 1736. No further
particulars of his life are known.
ODAM, GiBOLAMO, was an artist who resided at
Eome, and distinguished himself at the beginning
of the 18th century as a painter, sculptor, and
architect. He was born in 1681, and was a pupil
of Carlo Maratti. He drew portraits in crayons,
engraved on copper, and copied small cameos on a
larger scale. He was made a Knight of St. George
by the Duke of Parma, and was a member of the
Academia degl' Arcadi.
ODASI, Giovanni, (or Odazzi,) was born at
Eome in 1663, and studied for some time under
Bloeniart and Giro Ferri, but afterwards was a
scholar of Giovanni Battista Gaulli. Of his works
at Rome, the most creditable are his picture of the
' Prophet Hosea,' in San Giovanni in Laterano ;
' St. Bruno,' in Santa Maria degli Angeli ; and an
altar-piece, representing ' The Fall of Lucifer,' in
the church of the Santi Apostoli. He also executed
some paintings in the cupola of the cathedral of
Velletri. He died at Milan in 1731.
ODDI, Giuseppe, a native of Pesaro and pupil of
Carlo Maratti. No details of his life are known.
ODDI, Mauho, a painter, designer, etcher, and
architect, who was born in 1639 at Parma, where
he was instructed in the first principles of art. He
went afterwards to Eome, where he studied six
years, under Pietro da Cortona. On his return to
his native city his talents recommended him to the
patronage of the Duke of Parma, who employed
him in ornamenting the ducal palace, and the Villa
di Colorno ; giving him also the appointments of
court painter and builder. He drew two thousand
medals in the ducal cabinet of coins, and painted
some altar-pieces for the churches of Parma, Pia-
cenza, and Modena. Kiisel, N. Dorigny, and others
have engraved after his works. Two etchings by
him are also known, ' The Adoration, of the Shep-
herds,' after Parmigiano and Caraglio, and 'Tlie
Rape of Europa,' after Agostino Carracoi. His
death occurred in 1702 or 1703. He signed his
works with a monogram composed of a Maltese
cross between M. and 0.
ODEBRECHT, Otto Friedeich Hermann, land-
scape painter, was born in Greifswald in 1833.
He was principally formed in the studio of Prof.
Ang. AVeber at Dusseldorf, where he died in 1860,
from the effects of a poisonous sting. In the Berlin
National Gallery there is a 'Moonlight View on
the Konigs-See, with a ferryman,' bv him.
ODEKERKEN, Willbm, a painter of Delft, who
lived about the middle of the 17th century. His
wife was one Maria Sasbouts van der Dussen. His
works are very scarce. He is said to have very
accurately copied a picture by Metsu which repre-
sents a ' Cook in her Kitchen, surrounded by culin-
ary utensils* A work of that class by him has
lately (1885) been added to the collection in the
Rijks Museum, Amsterdam. He also painted
still-life. His activity extended from 1642 to
1677.
ODERICO DA SIENA, flourished about 1213.
He was a canon of Siena, and painted miniatures
in the Byzantine manner.
ODERICO, Giovanni Paolo, was born in 1613,
of a noble family of Genoa. According to Soprani
he was a scholar of Domenico Fiasella, and painted
history with some success, but was more distin-
guished for his portraits. Of his historical works,
the most esteemed is his picture of the 'Guardian
Angel,' in the church of the Padri Scolopi at
Genoa. He died in 1657.
ODERIGI DA GUBBIO, (Oderisoo, Odbeisio,)
was born at Gubbio, in 1240. His only known works
are two mass-books of the Virgin and St. George ;
but some miniatures in the Archivio de' Canonici
diSan Pietro, at Rome, are supposed to be by him.
He is said to have painted at Gubbio in 1264, at
Bologna in 1268, and in 1295 at Rome, where Vasari
says he made the acquaintance of Giotto. Oderigi
died in Rome in 1299. He is mentioned by Dante,
who represents him as expiating in Purgatory the
pride with which his skill inspired him.
ODERISIO, RoBERTUS di, was a Neapolitan, and
the author of a ' Crucifixion ' in the church of San
Francesco d'Assisi, at Eboli. He lived in the
14tli century, and is said to have been a pupil
of Giotto.
ODEVAERE, Joseph Dionisids, an historical
painter and critic, was born at Bruges in 1778.
After receiving a good scholastic education at the
college of the Augustins, and obtaining several
prizes at the Academy of Design, he was sent in
1728 to Paris to study painting under Suv6e and
David. In 1804 he obtained the prix de Rome
for his picture of the ' Death of Phocion.' On
his return to Bruges he was received in triumph,
and treated with every mark of distinction by the
Academy, the municipality, and the public. Shortly
afterwards he returned to Paris ; and the following
year, 1806, went to Italy, where he remained for
about eight years, and executed several pictures
of large dimensions. In 1814 he was again in
Bruges, and painted for William I., King of the
Netherlands, the picture of ' The Peace of
Utrecht;' and, after the battle of Waterloo, an-
other representing that action at the time the
Prince of Orange received his wounds. For this
and others relating to the history of the country he
received special marks of the Royal favour. His
pictures are numerous, and are to be found at
Paris, Brussels, Ghent, and Bruges. They are
221.
Odieuvre
A BIOGRAPHICAL DICTIONARY OF
Oeser
generally large, one painted for the King of the
Netherlands measuring twenty-four feet long and
sixteen feet high. Odevaere while in Italy col-
lected materials for a history of the state of the
arts in that country from the revival of painting to
the time of Raphael ; his MS. still lies in the Royal
Library at Brussels. He died at Brussels in
1830.
ODIEUVRE, Michel, was a French engraver
and printseller, who. resided at Paris about the year
1735. He began Hfe as a tailor. He etched and
published in 1738 a set of portraits entitled, ' Por-
traits des Personages illustree de I'un et de I'autre
Sexe.' These are usually found in the large paper
quarto editions of the ' M^moiree de Sully' and
' Memoires de Commines.' Odieuvre died at
Rouen in 1756.
OECPIS, Joseph Dominious, a painter of excel
lent portraits in oil and in miniature, and a designer,
was born at Erbach, near Ehingen in Wiirtemberg,
in 1776. He studied under his brother, Anton
Oechs, at Ratisbon, under Frost in Nuremburg,
and under A. Graff and Klengel in Dresden. In
1804 he went to Courland, and was in 1824 made
drawing-master in the Gymnasium at Mitau. His
principal works were portraits, and the Provincial
Museum of Courland possesses a complete set in oil
by him of the Dukes and Duchesses of that province.
He died at Mitau in 1836.
CEDING, Philipp Wilhelm, painter and de-
signer, was born at Benzigerode, near Blankenburg,
in 1697. Having studied under Huber at Halber-
etadt, and Busch at Brunswick, be was in 1722
sent by Duke Ludwig Rudolph to Nuremberg,
where he worked under Preisler, Desmardes, and
Kupetzki, and chiefly adopted the style of the last-
named master. In 1729 he married Preisler's
daughter, Barbara Helena, who, in addition to
painting, practised engraving, embroidery, and
working in wax and alabaster. About 1741 he
painted among other pictures a large 'View of
Altona,' the ' Adoration of the Magi,' and the ' In-
stitution of the Last Supper,' for the Lutheran
Church at that place ; where also he painted por-
traits and taught drawing. Subsequently he was
appointed a professor in the ' Karolinura ' at Bruns-
wick. Preisler engraved after him the portrait of
his wife, and Tyrof and others some drawings of
antique vases. Ceding died in 1781.
CEFELE, Franz Ignaz, called Bavarese, was
born at Posen in 1721, and studied under various
masters at Landsberg, Augsburg, and Munich,
until he went to Venice, where he placed himself
under Giuseppe Nogari, and remained with him six
years. Subsequently he went to Rome, and studied
under Giovanni Barca for two years. Returning to
Munich, lie was made painter to the Elector Maxi-
milian III., as well as professor in the School of
Design. Of his works the principal are, 'Joseph
and Potiphar's Wife,' the portrait of the Electress
Adelhaid in the Court Chapel of Munich, and his
own portrait in the Sohliessheim Gallery. Of his
etchings the best are, ' The Woman of Samaria,'
and ' The Daughter of Dibutades,' both after his
own designs. He died in 1797.
OEI-IME, Ernst Friedeich, was born at Dresden
in 1797, and after studying under Professor
Friedrich, and travelling from 1819-25 in Italy,
became court-painter at Dresden, and died there
in 1854. He painted chiefly landscapes, and
signed his works with an E in a circle. Among
them are :
222
The Mountain Chapel.
View of the " Jagdschloss " of Moritzburg.
Autumn Landscape {H. Pietsch, Dresden).
OELENHAINZ, August Friedrich, (Oehlen-
HAINZ. &o.,) was born at Endingen, near Balingen.
in 1749, and after commencing the study of
theology at Tubingen, prepared himself as an
artist in the same place, under Meyer, and then
under Baier at Stuttgart. In 1766 he went for
further improvement to Vienna, where he painted
the portraits of the Royal Family, of several
courtiers, and of the poet Blumauer. In 1789 he
was made a member of the Academy, and he died
at Falzburg in 1804. His portraits were flatter-
ing, and thereby ensured him patronage. Durmer,
about 1796, engraved two plates after him for the
Frauenholz Collection : ' Tlie Maiden of the Black
Forest,' and ' The Bernese Girl ; ' and Pheifer, the
portrait of Lavater.
OERI, Hans Jakob, was an historical and por-
trait painter, also a draughtsman and lithographer,
who was born at Kyburg in Switzerland, in 1782,
and studied under Kuster and David. He travelled
a great deal, principally in Russia. As an artist
he distinguished himself by the truth of his por-
traits, and above all as a litliograpber. He died in
1843 (?). ' Dsedalus and Icarus ' and ' Chloe,' are
two of his best paintings. Noticeable among liis
lithographs are :
The Marriage of the Virgin ; after Eaphael.
Joseph sold by his Brethren ; after Ovsrheck.
Madonna with Sleeping Child ; after Catarini.
Christ in the House of Martha ; after Overbeck, dated
1826.
OERI, Petee, a Swiss artist, and a native of
Zurich. He appears to be the man of whom
Nagler says that he was born in 1737, and died in
1792. After studying six years in Italy, he re-
turned to Switzerland, where, probably for want
of employment, he abandoned painting, to follow
the occupation of a chaser and working goldsmith.
OESER, Adam Friedrich, a German painter,
modeller, and engraver, was born at Presburg in
1717. lie was sent at thirteen years of age to
Vienna, but was compelled to return home for
want of means, and then found employment at
the country-seats of Hungarian noblemen. In
1735, however, when eighteen years of age, he
returned to Vienna, and gained the gold medal at
the Academy. His talent was noticed and en-
couraged by Raphael Donner, a, sculptor, who
taught him to model. Dresden was at that time
the residence of several artists of eminence, and in
1739 he visited that city, where his abilities
procured him the esteem and friendship of its
most distinguished residents. Here also he prac-
tised enamel and miniature painting. In 1749 he
decorated the ceilings and walls of the Hubertsburg
Schloss. He formed an intimate acquaintance with
Winkelmann, whom he assisted in his first studies of
the antique, and who makes mention of him in his
first literary work as " the successor of the Theban
Aristides." In 1756 he proceeded to Dahlen,
where he painted in the BUnau'sche Schloss; and
thence removed to Leipsic, where, in 1763, he
became Director of the Academy. He settled in
that city, and during a residence of many years
he painted some important works for public build-
ings and private collections, both in oil and fresco.
He was also Pjofessor of the Academy at Dresden
and court painter. He died at Leipsic in 1799.
Among his chief productions are the frescoes in
Oeser
PAINTERS AND ENGRAVERS.
Olagnon
tlie cliurcb of St. Nicholas, at Leipsic. There is
a portrait group of his own children in the Dresden
Gallery. Oeser etched a variety of plates from his
own compositions and after other masters ; among
many others are the following :
A variety of vignettes and frontispieces for books,
designed and etched by F. Oeser.
The Circumcision ; after G, van den EecJchout.
Saul and the Witch of Sudor ; after Rembrandt.
The Presentation iu the Temple ; after the same.
Christ brought forth by Pilate ; after the same.
Cupid and Psyche ; probably after Guercino.
OESER, JoHANN Feiedeich Ludwig, son of
Adam Friedricli Oeser, was born at Dresden in
1751, and was a landscape painter and engraver.
He was for seven years a teacher in the Academy
of Leipsic, and in 1774 became professor of
historical and landscape painting at Dresden, ard
in 1780 a member of the Academy there. He
executed numerous drawings in Indian ink and
colours, together with oil paintings, representing
views in the neighbourhood of Dresden, and
chiefly in Ruisdael's style. His principal etchings
are after Rembrandt, Rubens, and Salvator Rosa.
He died in 1791 or 1792.
OESTERREICH, Mathias, a German designer
and etcher, was born at Hamburg in 1716. He
learnt the art of design under J. B. Groni at
Dresden, and twice travelled in Italy, where he
gained a knowledge of art which enabled him to
take the position of superintendent of the Electoral
Gallery at Dresden. In 1757 he became Director
of the Gallery of Sans Souci at Potsdam. He
died at Berlin in 1778. His principal productions
are a set of twenty-four caricatures, etched from
the designs of P. L. Ghezzi, and published at
Dresden in 1750, entitled ' Raccolta di XXIV.
Caricature, disegnate colla penna dal celebre
Cavaliere P. L. Ghezzi ; ' these plates were repub-
lished at Potsdam in 1776, with the addition of
eighteen from the designs of Giovanni Battista
Internari, and others. Oesterreich also engraved a
set of forty plates from drawings in the collection
of Count von Bruhl, published at Dresden in 1752,
under the title of ' Kecueil de quelques dessins de
plusieurshabilesmaitres,' &c. Several of the plates
in "The Dresden Gallery" were engraved by
Oesterreich. He marked his plates M. 0. Am-
hurgese fecit, with a monogram composed of two
interlacing triangles, or with his initials. He has
left descriptive accounts of several collections of
paintings.
OEVER, Albbrtine ten, born Roelfsema, was
an amateur of some ability. She was a native of
Holland, and flourished early in the 19th century.
OEVER, Hendrik ten, a Dutch painter, who
flourished about 1690. No details of his life are
known. A portrait group of regents by him still
hangs in the church of St. Michael, at Zwolle. It
is signed and dated Hendeik ten Oevee, pinxit,
1690.
OFFERMANS, Antonis Jacob, a Dutch animal
painter, was a pupil of D. van Donge, and was
painting at Rotterdam about 1800.
OFFERMANS, Jan, born at Dordrecht in 1646,
painted landscapes for some time ; but failing to
succeed, became a house painter.
OFFIN, Charles d'. See Dauphin.
OFHUYS, Jan, a Flemish glass painter, who
flourished in the first half of the 16th century.
OGBORNE, John, an English designer and en-
graver, was born in London about the year 1725.
Berlin. Museum.
London. Nat. Gallery.
„ Royal Academy.
„ Hampton Court.
Milan. Brera.
He was a scholar of Bartolozzi, and engraved in
the dot manner. Several of the large plates for
Boydell's Shakspeare Gallery are among his best
works. He was chiefly employed on the pictures
of the painters of that time ; Smirke, Stothard,
W. Hamilton, A. Kauffmann, Westall, and Rom-
ney ; and he also engraved some subjects from his
own designs. In his later plates line is combined
with stipple. He died about 1795. MaryOgboene
assisted him on some of his plates.
OGGIONNO, Marco d', was born at Oggionno,
near Milan, probably about 1470. He was one of
the chief pupils of Leonardo da Vinci, whose
famous wall picture, ' The Last Supper,' he copied
more than once. The best of these copies is now
in the possession of the English Royal Academy
of Arts. Among his most important works were a
series of frescoes in the church of S. Maria della
Pace, at Milan. The two best, a 'Marriage at
Cana,' and an ' Assumption,' are now in the Bi'era.
Marco died in 1549. Works :
A ' Holy Conversation.'
A Madonna and Child.
Copy of Leonardo's ' Cenacolc'
The Infants Christ and St. John.
Michael suppressing Lucifer.
{A masterpiece; signed ' Mar'
cus.^)
The Assumption.
A ' Holy Conversation.'
Marriage at Cana.
f St. John the Baptist and a
( Donator.
Madonna, St. Eufemia, and
Donator.
■ The Crucifixion.
A Madonna. {A masterpiece ;
signed ' Marcus.^)
i Holy Family.
Copy of Leonardo's * Cenacolo.'
Christ bearing His Cross.
OHME, Benst Feiedeich, an obscure German
painter of landscape, who was active in Dresden
in the first years of the 19th century.
O'KEEFE, (or KEEFB,) Daniel, was a painter
in miniature, who practised in London, and ex-
hibited at the Royal Academy from 1771 to 1783.
He died at Brompton, 1787.
O'KEEFE, John, painted in miniature, and was
the brother of Daniel. He was born in Dublin in
1748. After studying in the Academy of Dublin,
and in London under Hudson, he made a number
of humorous designs. Subsequently relinquishing
painting, he became an actor of low comedy in
London and Dublin, and was also the author of
some successful dramatic pieces. He died at
Southampton in 1833. There is a portrait of him
by Lawranson in the National Portrait Gallery.
OKEY, Samuel, an English mezzotint engraver,
in the second half of the 18th century. He gained
Society of Arts' premiums in 1765-7. ■ About 1771
he emigrated to America, and settled in Rhode
Island, where he continued to practise. Amongst
his engravings are :
Nelly O'Brien ; after Reynolds.
Old Man with Scroll ; after the same.
Lady Anne Dawson ; «/<«■ the same.
Girl with Lamb ; after Kettle.
William Powle ; after Pine.
OLAGNON, PlEREE VioTOE, a French painter
of genre and portrait, flourished about; 1786. He
was a pupil of Regnault. His best works are a
' Vintage at Macon,' and ' Toilet in the Mansarde.'
223
„ Santa Maria 1
delle Grazie. J
„ Santa Eiifemia.
„ Santa Maria della \
Pace. J
„ Bonomi'Cereda Coll.
Paris. Louvre.
Petersburg. Hermitage.
Turin.
Olanda
A BIOGRAPHICAL DICTIONARY OP
Oliver
OLANDA, Alberto d'. See Ouwatbr.
OLANDA, Antonio and Francisco d', two Por-
tuguese artists of the 16th century who are famous
for their illuminations. Francisco, who was An-
tonio's son, made a voyage to Italy, and on his
return in 1549 presented a petition to John XL,
which by protesting against the influence of
Flemish art in Portugal, prepared the way for that
of Italy.
OLANDA, GuGLiELMO d'. See Aelst, Willem
VAN.
OLDENDORP, Christian Johann, a landscape
painter, born in 1772 at the Castle of Marienborn
in the Wetterau. He was almost self-taught, and
studied the works of Berghem, but distinguished
himself most by his firelight pictures, which were
exhibited at Weimar in 1802, such as the burning
of Magdeburg, Gorlitz, Moscow, &c. Some of his
other landscapes, views in Saxony, were engraved ;
and in 1826 two appeared in lithography.
OLDERMAN, Ernst Friedeich, or Fritz, a
German engraver, was born in the village of
Werther, near Bielefeld, in 1802, and was the son
of a merchant, who intended him for his own
business. His love of drawing induced him to
devote to it all his leisure time, and he was encou-
raged by a drawing-master whose acquaintance he
made. Convinced that he could never settle to
business, he left his home and travelled to Dussel-
dorf and Berlin, where he endeavoured to improve
himself, but was obliged from want of money to
enlist for a time as a soldier. After this he entered
the service of a lithographer, and commenced as an
engraver in mezzotint. He died at Berlin in 1874.
Among his best mezzotints we may name :
Jubal ; after Klbhers.
The Compromise of the Dutch Nobles ; after Biefve.
Parade before Frederick the Great ; after Camphausen.
Eichard III. ; after Stilke.
Children at Play ; after Meyerheim.
After the Wedding ; after Kindler.
Diirer in Antwerp ; after Oer.
Philippa Welser ; after Schrader.
OLDONl, BoNlPOKTE DB, belonged to a family of
artists which appears to have moved to Vercelli
from Milan in the middle of the 15th century.
Boniforte worked from 1463 to 1510. He had
three sons, Ekcolb, Giosoe, and Blbazar, all
painters. In the parish church of Verrone, near
Biella, is a fresco signed by Giosue ; and in the
possession of the Countess Castelnuova, at Turin,
is a small ' Adoration of the Infant Christ,' signed
by Eleazar, ' Eleazar de Oldonibus.'
OLEN, Jan van. See Alen.
OLENDORF. See Olmdoef.
OLESZCZYNSKl, Anthony, a Polish engraver
and painter, born in 1796 at Krasnystow (Lublin).
He at first studied law at Warsaw, and then spent
six years in the School of Fine Arts at St. Peters-
burg. With government aid he further prosecuted
his studies at Paris, under Regnault and Richomme.
He then passed some time at Florence, in the
Academy of which city he was appointed a Pro-
fessor. His patriotic tendencies at length lost
him the support of the Russian Government, and
be then produced the series of plates known as
' Polish Varieties.' Among the best are :
The Hungarian Ambassadors offering the Crown to the
Son of Ladislaus Jagello.
The German Emperor begs the assistance of John
Sobieslri.'
The Entry of Boleslaw into Kief.
Bogdan Schmielnicki.
224
The Shoemaker Kilmsti.
The Enchantment of Twardowski.
Portrait of Kosciusko.
OLGIATI, GiROLAMO, an Italian engraver, who
flourishe4 in the latter part of the 16th century.
He formed his style of engraving by studying the
works of Cornelis Cort. Among other plates by
him is an etched print representing the ' Trinity,'
with a number of saints and angels, after Federigo
Zuccaro, inscribed Hieronymus Olgiatus f. 1572 ;
the ' Entombment,' after Guido Clovis, and others.
OLIS, Jan, a Dutch painter, born in 1610, at
Dordrecht (?). He painted ' Corps-de-gardes,'
corporation groups, and a few single portraits. He
died in 1665, most likely in Amsterdam, where
most of his life was passed. In the Rijks Museum
there is a ' Kitchen Interior ' by him. Though signed
J. Olisfedt. 1645., it used to be ascribed to Sorgh.
A landscape with figures in the Darmstadt Gallery,
given in the Catalogue to Jan Lis, is most likely
the work of Olis.
OLIVA, Iqnazio, a Neapolitan painter and
scholar of Domenico Gargiulo, called Micco Spa-
daro. The latter was the fellow-pupil of Salvator
Rosa under Aniello Falcone, and they all painted
landscapes and marine views much in the same
style in the latter half of the 17th century.
OLIVA, Philip, a native of Middleburg, was
admitted a bourgeois of Antwerp in 1642, and a
free member of the Society of St. Luke in 1655 or
1656. He died at Antwerp about 1659. In 1648-9
an Andreas Oliva was also inscribed on the guild
books, and in 1 667-8 a Michael and a second
Philip, all described as sons of a master.
OLIVA, PiBRO, painter, a native of Messina, and
pupil of Antonello, flourished about 1490.
OLIVEIRA-BERNARES, Ignacio db, belongs to
a family of artists in Portugal who bore this name.
The first mentioned is Manoel Rodriguez, a painter
who seems to have been known also as Oliveira
Bernares. He had a son Antonio, and three grand-
sons, Ignacio, Fra Jose de Santa-Maria, a monk,
and Polycarp, all painters. Ignacio, who was born
at Lisbon in 1696, was one of the young artists
whom John the Fifth of Portugal sent to Rome,
where he wished to estabhsh a Portuguese Academy
of Painting. At Rome Ignacio studied painting
and architecture under Benedetto Luti and Paolo
de Matteis. On his return to Lisbon he was ad-
mitted into the Brotherhood of St. Luke, and
afterwards made a professor of the Academy. He
died in 1781. At Lisbon many of his works, both
in architecture and in painting, are to be seen. His
son JoSiS Pedro de Oliveira, born at Lisbon in 1752,
was also an artist, and there are pictures by him in
the Lisbon churches.
OLIVER, Archer James, an English portrait
painter, was born in 1774. He studied in the Schools
of the Royal Academy, of which he was elected an
Associate in 1803. For some years he had a wide
and fashionable circle of sitters at his studio in New
Bond Street, and he exhibited largely from 1800
to 1820. In 1835 he was appointed curator of the
painting school in the Academy. Through ill
health In his latter years his means were reduced,
and he became a pensioner of the Academy. He
died in 1842.
OLIVER, D., supposed by Fussli to have been
a French painter, resided in London in the 17th
century. The portrait of the painter P. Sevin,
by D. Oliverus was engraved by De La Croix
in 1692.
Oliver
PAINTERS AND ENGRAVERS.
Olivier
OLIVER, Isaac, an English mezzotint engraver,
in the latter part of the 17th century. He was the
son of John Oliver, glass painter. Amongst his
engravings are :
The Seven Bishops.
Charles II.
George, Prince of Denmark.
E. van Heemskerk.
OLIVER, Isaac, an English miniature painter,
was born in 1566. He studied some time under
Nicholas Hilliard, and afterwards under Federigo
Zuccaro. It is probable, from the variety of his
drawings after the great masters, particularly Par-
migiano, that he visited Italy. In the particular
branch of art he adopted he has perhaps never
been surpassed. In our country few artists can
be said to compete with him. His son Peter
approached nearer than any one else to the beau-
tiful finishing of his father. The miniatures of
Isaac Oliver are now very highly prized. He
died at his house in Blackfriars in 1617 (?), and
was buried there in St. Anne's Church. His monu-
ment was destroyed in the great fire. The following
are among his best works :
London. South Kensing- 1 Eichard Sackville, Earl of Dor-
ion Museum, j set. {Full-length ; one of
Oliver^ ^finest works,)
„ „ .A portrait of himself.
„ „ Henry, Prince of Wales.
„ „ Sir Philip Sidney {full-length).
-rt „ Ben Jonson.
„ „ Queen Elizabeth.
„ „ James I.
„ „ A head said to be that of Mary,
Queen of Scots.
Oliver rarely attempted subject pictures, but a
few miniatures of that description are mentioned
by Horace Walpole ; among them a 'Magdalen,' a
' Head of Christ,' a, ' Massacre of the Innocents,'
and an 'Entombment.' Oliver died at Blackfriars
in 1617. He usually signed his drawings Olivier,
and his miniatures with a monogram exactly re-
sembling the Greek *. He wrote a treatise on
limnino-.
OLIVER, John, the nephew of Peter Oliver, was
born in London in 1616. He was an eminent
painter on glass, and practised until he was far
advanced in years, as appears from the inscription
on a painted window, executed by him, in Christ
Church, Oxford, J. Oliver cetat. sua. 84, anno 1700,
pinxit deditque ; the subject is the angel deliver-
ing St. Peter from prison. He died in 1701. He
is said to have e graved a few plates of portraits
and other subjects, some of which are etched, and
others executed in mezzotint ; the following are
among them :
PORTRAITS.
King James II. in mezzotint.
Judge Jeffries, styled Earl of Flint.
Thomas White, Bishop of Peterborough.
John Woremberg, the Dutch Dwarf.
A Boy sleeping, with a Skull by him ; after Art. Gen-
tileschi.
A View of Tangiers ; J. Oliver fee, 1676.
A View of the Hot Wells at Bath ; J. Oliver fee aqua
forti. 1676.
OLIVER, Pbtek, the eldest son of Isaac Oliver,
was born in London in 1601, and was instructed in
miniature painting by his fatlier. He did not con-
fine his talents to portraits, but was employed in
copying in water-colours several of the finest pic-
tures in the collection of Charles I., and it appears
VOL. II. Q
by the catalogues of that mon.irch and of James
II., that there were thirteen historical miniatures
by hira in the royal collection, several of which
are preserved in the palace at Kensing-ton. At
Burleigh there is a picture by Peter Oliver, of
'Venus and Adonis,' dated in 1631. One of his
finest portraits is a picture of his wife, which was
in the collection of the Duchess of Portland ; it is
doubted whether his father ever surpassed this
excellent miniature. His copy of Van Dyck's ' Sir
Kenelm Digby, with his Wife and two Sons,' is
perhaps the finest miniature known of the size.
He also executed some fine drawings in Indian-ink,
among which are ' The Infant John kneeling before
the Virgin, and handing a cross to the Child Jesus,'
after Raphael ; and the portrait of Edward VI.
when a child, at Chiswick, signed P. 0. In the
British Museum there is an etching by him of a.
woman reading. It too is signed with his initials.
It is stated that he also etched some small historical
subjects. He died in 1660.
OLIVER, William, an English landscape
.painter, born in 1805. He chiefly practised in
water-colours, exhibiting at the New Water-colour
Society, of which he was a member. His subjects
were mainly taken from foreign scenery. He died
in 185.?. There is an oil-painting of Foligno, in the
Papal States, by him, in the Kensington Museum.
OLIVERUS, a skilful French miniaturist of the
12th century. He worked in Paris. The library
of Douai possesses a fine MS. illustrated by him.
OLIVES, Francisco, a Spanish painter, who
flourished at Tarragona about 1667. He filled for
a time the post of valuer of works of art for the
province.
OLIVIER, AnBiN, a die-sinker and engraver on
wood, was born at Roye, in Picardy, in the first
half of the 16th century ; and was Director of the
Mint, under Henri II., in 1563. As a wood-en-
graver, in conjunction with Jean le Royer, his
brother-in-law, he engraved the sixty figures which
illustrate the ' Lievre de Perspective de Jehan
Cousin,' the celebrated French artist, which was
published in Paris in 1560 by Jehan le Royer, in a
large folio. The date of Aubin Olivier's death is
not known.
OLIVIER, Hbinrich, elder brother of Johann
H. Ferdinand Olivier, was born at Dessau in 1783.
He underwent the same course of study as his
brother, and ultimately became a teacher of draw-
ing and of languages in Berlin, where he died in
1848. In Vienna he executed a copy of Pordenone's
' St. Justina,' and also produced original paintings
for the churches of his native town.
OLIVIER, JoHANN Heinrich Ferdinand, painter
and lithographer, was born at Dessau iu 1785.
His first instructions were received from K. W.
Kolbe and Haldenwang, but in 1804 he went to
Dresden, and studied under Jakob Mechau, In
1807 he accompanied his brother Heinrich to Paris,
and together they painted a portrait of Napoleon I.
on horseback, as well as ' The Baptism of Christ '
and a 'Last Supper' for the church of Worlitz.
In 1811 he proceeded to Vienna, and in 1828 pub-
lished a series of lithographs at Salzburg. His oil
pictures are for the most part either purely his-
torical, or historical landscapes. In 1833 he became
professor of art history and general secretary to
the Academy at Munich, where he died in 1841.
His last and best painting is a landscape in the
possession of Fraulein Linder of that city. He
usually signed his work with a monogram of F. 0.
225
Olivier
A BIOGRAPHICAL DICTIONARY OF
Ommeganck
OLIVIER, Michel Baeth^lbmy, was born at
Marseilles in 1712, and died in Paris in 1784. He
was received into the Academy as painter of land-
scape and genre, and became painter to^ the Prince
du Conti. His style is that of his time, the execu-
tion neat, and colour undecided.
OLIVIER, WoLDBMAE Friedrich, younger
brother of Heinrich and Ferdinand Olivier, was
born at Dessau in 1791. From 1811 he studied
under his brother Ferdinand : but in 1813-14 he
served as an oflScer in the Lutzow volunteer corps,
and as such obtained the iron cross and the Order
of St. Anne and St. George. In 1815 he travelled
in England and the Netherlands, and proceeded in
1818 to Rome, where he studied under Overbeck
and Cornelius. He here painted his picture of
'Christ with the Tribute Money,' together with
landscapes with historical figures. In 1824 he
returned to Vienna and practised as a portrait
painter, but removed in 1829 to Munich, where he
worked upon the frescoes in the Konigsbau, in the
Nibelungenand Homer Saloons, and also designed
a ' Pictorial Bible' with fifty illustrations from the
New Testament. He died at Dessau in 1859.
OLIVIERI, DOMENICO, was born at Turin in
1679. He particularly excelled in painting droll
scenes, fairs, and merry-makings, in imitation of
the style of Peter van Laer, in which he displayed
infinite humour, and a talent for caricature. In
the gallery of the court of Turin were two of his
best pictures, in one of which he has represented a
fair, with an immense assemblage of figures, of
quack-doctors, and groups of peasants, sporting or
quarrelling. Though chiefly employed in painting
what are called Banibocciate, he was not incapable
of historical painting, as appears in his picture of
' The Miracle of the Sacrament,' in the sacristy of
Corpus Domini, at Turin. He died in 1755. Boni
says that he had a pupil who painted in the same
style, and of whom he speaks as N. Graneri of
London.
OLIVIERI, DoMENico, called Salvatoriello, a
Neapolitan, born in the last half of the 17th
century. He was the best of Solimena's pupils,
and painted, in fresco, 'Tl'.e Virgin and Child,' in
S. Maria delle Grazie ; ' Rinaldo and Armida,' and
other pictures on a large scale. He died in 1718.
0LIVIBR8, Jacob Frans and Adbiaen, two
obscure painters of Haarlem, who flourished in the
17th and 18th centuries. Jacob was inscribed on
the Guild in 1632. In 1650 he received, from the
military authorities, a sum of 150 florins for re-
storing pictures, and in 1667 a requisition was made
for a tomb for him in the church of St. Bavon.
Adriaen was inscribed on the Guild in 1707.
OLLMUTZ, Wenzel or Wenceslaus von, (Ol-
MtJ'J'Z, or Olomuoz,) was a painter and engraver of
the 15th century, who produced several extremely
good copies, as well as original plates. By Bartsch
he was supposed to be identical with the " Master
signing W," while some have endeavoured to iden-
tify him with Michael Wolgemut. The more recent
opinion is that the plates with W upon them
are the work of Wolgemut, and that instead of
being copies from Diirer, Diirer copied them. For
a fuller discussion of the question see Wolgemut.
The name of Wenceslaus von Olomucz appears on a
copy from Schongauer's 'Death of the Virgin,'
dated 1481. He was still working as late as the
beginning of the 16th century. The best of his
plates are in the above-mentioned copy from Schon-
gauer's famous engraving.
226
OLMDORF, Hans von, (or Olmendorf,) a Ba-
varian artist, who painted between 1460 and 1518.
He was court painter to the Duke Sigmund. He
painted at Munich and at Blutenburg, where it is
thought he made the designs for the windows
painted by Hans Hebenstreit. To him is ascribed
also the picture of ' God the Father with the dead
Christ on His knees,' the engraving from which is
attributed to The Master of 1466. Some of his
pictures, on panels with gold backgrounds, are
at Schleissheim. One of his best works is the
' Crowning of the Virgin,' in which the Duke Sig-
mund is introduced on his knee.
OLMO, Giovanni Paolo. Siret speaks of a Ber-
gamese painter of this name, and of a 'Vierge
Glorieuse,' at Berlin, signed Jo. Paidus Vlmus.
OLMO, Marco. Born in 1683, of a noble family
in the territory of Bergamo, Marco Olmo showed
early such a strong inclination for painting that he
was sent to Bologna, and studied for some years
under Gio. Gioseffe dal Sole. On his return he
painted a groat number of pictures for the churches
in his native country, and many portraits. He
died in 1763.
OMER, Rowland, a draughtsman, bom in Ire-
land, who worked about 1750. He drew many
public buildings in Dublin and other parts of Ire-
land, which were engraved.
OMINO, L'. See Lombaedi.
OMME, H. VAN, a mediocre painter, who was
active at Oudewater in 1651. In the orphanage
of that town there is a large picture of ' Orphans
at Dinner,' by him.
OMMEGANCK, Balthazar Paxil, a distin-
guished painter of landscapes and animals, was
born at Antwerp in 1755, and studied under Hen-
dricuB Josephus Antonissen from 1767. In 1789
he became dean of the Guild of St. Luke in his
native city, and in 1796 professor in the Academy
there, In 1799 he won the first prize for landscapes
in Paris, and in 1809 became a corresponding
member of the Institute. He was also a member
of the Academies of Amsterdam, Brussels, Ghent,
Munich, and Vienna. He died at Antwerp in 1826.
He was one of the commissioners of 1815, appointed
by Belgium to reclaim from France the objects of
art which she had acquired by force of arms during
the great war. During his life his works were
in such request that only the rich could obtain
them, and they are therefore seldom to be found
but in the finest modern collections of England,
France, and Holland. And yet in handhng they
were soft, weak, and oversmooth, in conception
confused," and in colour poor. It is in fact greatly
to the example of Ommeganck that the poor work
done by Belgian landscape and animal painters in
the early part of the present century is to be
traced, especially their shortcomings in the matter
of colour. Carpentero, J. F. Lenzen, and some of
the more recent Belgian painters, have imitated his
manner ; a female painter, long resident in Holland
and Belgium, has copied several of his pictures
very successfully ; and others in England and else-
where, undei- the auspices of the dealers, have made
it a very profitable speculation. He executed some
admired drawings, and also clay models of sheep
and cows. Among his oil-paintings there are (be-
sides some at Antwerp, Brussels, and Cassel) :
Frankfort. Stddel Inst. Landscape with sheep and
goats.
London. Stafford Hovse. Cows in the water.
Paris. Louvre. Landscape with sheep.
Ommeganck
PAINTERS AND ENGRAVERS.
Oost
OMMEGANCK, Maria Jacoba. See Baesten.
OMPHALION, a painter of the 4th century B.C.,
who, as Pausanias tells us, was a pupil and friend
of Nicias.
ON A, (or Onna,) Pedro de, a Spanish painter,
born in Spain about 1650, son-in-law to Esteban
Jordan, sculptor to Philip II. He painted in 1590
the principal altar-piece in the parish church of
Santa Maria de Rioseco.
ON AT AS, an early Greek sculptor of ^gina,
practised painting also to some small extent, and
was employed in conjunction with Polygnotus in
the temple of Athene at Plataaa.
ONATE, MiGHEL, a Spanish portrait painter,
was born at Seville in 1535, and studied under
Antony Mor, who was in Spain in 1551. He ac-
companied his instructor to Portugal, where he was
sent to paint the portrait of the first consort
of Philip II. He then returned with him to
Madrid, where he died in 1606, leaving to his
heirs a considerable fortune acquired by his pro-
fession.
O'NEAL, Jeffrey Hamet, was born in Ireland,
practised in London for many years, and died early
in the 19th century. He painted landscapes, birds,
flowers, small conversations, and miniatures ; and
contributed several years to the Spring Gardens'
Exhibition.
O'NBIL, Henry Nelson, was born at St. Peters-
burg in 1817 ; came to England and entered the
Royal Academy schools in 1833. Some years after-
wards he started on a journey to Italy with Mr.
Elmore, with whom he contracted a friendship while
in the schools. On his return to England he rapidly
rose to fame as a contributor to the Exhibitions of
the Royal Academy. He was elected an Associate
in 1860. He died on the 13th of March, 1880. The
following are a few of his best works ; they were
very popular at the time they were painted : ' By
the rivers of Babylon,' ' Ahasuerus and the Scribes,'
' Eastward Ho I ' and ' Home Again, ' The Wreck
of the Royal Charter,' and ' The Death of Raifaelle.'
The last is considered his best picture. Besides
these, he executed a number of landscapes and
portraits. He was also the author of various
treatises on art.
O'NEILL, Hugh, an EngUsh draughtsman, born
in London in 1784. He was helped by Dr. Munro,
and afterwards taught drawing in Oxford, Edin-
burgh, Bath, and Bristol. His subjects were archi-
tectural antiquities, and his sketches of ChristChurch,
Oxford, and of Bristol were published. He died at
Bristol in 1824. There are three water-colour
drawings by him in the South Kensington Museum.
Fifty of his sketches of antiquities in Bristol were
etched by J. Skelton, and published in 1826.
ONGARO, MiCHELB, an artist of the middle of
the 15th century, a native of Ferrara. A picture
of the ' Virgin and Child ' discovered there in 1842,
is supposed to be by him.
ONGHERS, Jacob, a Dutch painter established
at Prague in 1691. In 1714 he became chief of
the corporation of painters in that city, and died
there about 1730.
ONGHERS, Oswald, painter, was born at Mechlin
in 1628, and died at Wurzburg in 1706. He studied
mainly after Van Dyck, and in 1660 settled at
Wurzburg as painter to the Prince Bishop. He
here produced an ' Assumption of the Virgin '
for the Haug Church, and a ' Mocking of Christ '
and 'Martyrdom of St. Kilian' for the cathe-
dral.
Q 2
ONOPRI, Francesco, a Roman knight and en-
graver of the 18th century, who published a set
of twelve etchings, with a title, after the works
of G. L. Bernini.
ONOPRIO DA PABRIANO, a painter of the
Umbrian school, who is said to have been contem-
porary with Gentile da Fabriano, and to have
painted in 1460 the ' Life of St. Benedict,' in one of
the cloisters of St. Michele in Bosco at Bologna.
ONOFRIO, Crescentio, (Honophrijs, or Hon-
UFRiis,) landscape painter and etcher, was born at
Rome most likely some years later than 1613, the
date usually given. He was a scholar of Caspar
Poussin, and -painted landscapes in the style of that
master. He resided chiefly at Florence, where he
was much emploj'ed by the court and for private
collections. He died at Florence. Lanzi and Zani
say he was living in 1712, which is more probable
than that he died in 1688, as lie etched a fine series
of twelve plates of landscapes, after his own designs,
which are dated 1696 !
OORT, Van. See Noort, Adam van.
OORTMAN, JoAOHiM Jan, an engraver, of Dutch
parentage, but, from his long residence in Paris,
reckoned among French artists, was born at Weesp
in 1777, and studied successively under W. Koch,
C. H. Hodges, and Claessens. He engraved after
Rembrandt, Gerard Dou, A. Ostade, Jan Steen, and
other eminent Dutch masters ; also after Titian,
Giulio Romano, Caravaggio, and Valentino : and
some French painters of more modern date. He
died in Paris in 1818. In addition to two plates
in illustration of the ' Lusiad,' he supplied the
following to Filhol's ' Mus^e Franjais : '
Portrait of Eembrandt ; after that artist.
The Death of the Virgin ; after Caravaggio.
Martyrdom of St. Laurence ; after Titian.
Human Life ; after J. Steen.
OOST, Jakob van, the elder, was born at Bruges
about 1600, of an ancient and opulent family. It
is not known under whom he studied, but in 1621
he painted an altar-piece for one of the churches in
his native city, which excited great admiration.
This success led him to visit Italy in search of
further improvement. On his arrival at Rome he
especially studied the works of Annibale Carracci ;
and during his residence in that capital he painted
some pictures of his own composition, so entirely
in the style of that distinguished artist, that they
astonished the most intelligent judges. After a
sojourn of five years he returned to his own country,
where he was immediately loaded with commis-
sions. He was equally successful in altar-pieces,
portraits, and pictures for private collections. Dur-
ing a long life he continued to be one of the most
employed and most popular painters of his country.
The number of altar-pieces he painted for the
churches in Flanders, particularly at Bruges, is
almost incredible, and proves the readiness of his
invention, and the extraordinary facility of his
hand. The backgrounds of his pictures are gener-
ally embellished with architecture, which he per-
fectly understood. He gave peculiar dignity to
his portraits, by representing his sitters in the
exercise of their profession. Van Oost died at Bruges
in 1671. Of his numerous works, the following are
the most deserving of notice :
Bruges. Jesuits' Church. The Deposition from the Cross.
,, St. Saviour's. The Baptism of Christ.
„ Notre Dame. The Nativity.
„ S. Jacques. Presentation of the Virgin.
„ S. Truyen. Descent of the Holy Ghost.
227
Oost
A BIOGRAPHICAL DICTIONARY OF
Opie
Bruges. Academy. A Churchman dictating a Let-
ter to a young Clerk.
„ St. John's Hospital. A Philosopher in Meditation.
Petersburg. Hermitaye. The Virgin, with Donors.
OOST, Jakob van, the younger, the son and
scholar of Jakob van Oost the elder, was born at
Bruges in 1639. He studied under his father until
he was twenty, and then went to Paris and Rome
for improvement. He returned, after some years,
to Bruges. After painting there some pictures for
the churches, he established himself at Lille, where
the greater part of his works are now. He died at
Bruges in 1713. He painted history and portraits,
and was so eminent in the latter, that his partisans
ventured to compare his work with that of Van
Dyck. His historical pictures partake more of the
Roman than of the Flemish school. Works :
Brussels. Gallery. Male Portrait. Signed J. v.
Oost de ionghe.
Lille. S. Etienne. Martyrdom of St. Barbara.
„ Capuchin Gh. The Child Jesus shown the In-
struments of His inartyrdom.
„ Museum. Two male portraits. 1688 and
1693.
OOSTEN, J. VAN, was an artist who painted
small landscapes, with figures and animals, in the
manner of Jan Breughel, to whom they are usually
ascribed when they appear in sales. There are
no particulars of him recorded. There is a good
example of his work, a ' Paradise,' in the Ijiechten-
stein Collection, at Vienna. It is signed J. van
OOSTERHOUDT, Thibret van, was born at
Tiel, in Guelderland, in 1756. He was a scholar
of R. van Bynder, and frequented the Electoral
Academy at Diisseld orf. After several years' study
of the pictures of Raphael, Carlo Dolci, Rubens,
Van Dyck, and other masters there, he returned to
his native city, and painted portraits, and finished
numerous compositions. Some of his subjects are
scenes in private life, and are to be met with at
Tiel and Utrecht. He painted also in water-
colours. He died in 1830.
OOSTERWIJCK, Maria van, a celebrated
painter of flowers and fruit, was born at Nootdorp,
a small town near Delft, in 1627 or 1630. She
was the daughter of a clergyman, who encouraged
the disposition she evinced for art by placing
her under the tuition of the flower painter, Jan
Davidsz de Heem, whose works she in a few years
almost equalled. Her pictures of fruit, flowers,
and still-life found their way into the choicest
collections, and she received commissions from
many of the princes and sovereigns of Europe.
The Emperor Leopold I. engaged her to paint a
picture for his collection, and on its completion
sent her tte portrait of the Empress and his own,
set with diamonds, as a mark of his approbation.
William III. and Louis XIV. were among her
most munificent patrons. Maria van Oosterwijck
died at Entdam in 1693. Her works are extremely
scarce, from the care she bestowed upon them.
Among them we may note :
Dresden. Gallery. Glass filled with Flowers in
great variety.
„ „ Fruit-piece, with Clusters of
Grapes.
Vienna. Schonlom Gall. The same subject.
„ Amh'ase Coll. Still-life subject.
OPIE, (or Oppey,) a portrait fainter, was born
in Cornwall, but is said to have been in no way
connected with John Opie. He is believed to have
228
been self-taught. In the catalogue of the Exhibition
held in London in 1780, by the Incorporated Society
of Artists, he and his works are thus described,
'■ Master Oppey, Penryn. ' A Boy's Head.' An
instance of genius, not having seen a picture."
This head is said to have been expressive, well
coloured, and to have attracted notice on its
merits. Oppey died young, in London, 25th Nov.
1785.
OPIE, John, painter, was bom in the village of
St. Agnes, about seven miles from Truro, in 1761.
He was the son of a master carpenter, who was
very desirous of bringing him up to his own
business, but the love of drawing appears to have
given an early bent to bis inclinations, and as his
propensity was encouraged by an uncle, who had
instructed him in arithmetic and the elements of
mathematics,his desire of becoming a painter gained
an entire dominion over his mind, and nothing could
divert him from it. He had already acquired some
practice in portrait-painting, when his talent was
accidentally discovered by Dr. Wolcott, 'Peter
Pindar,' who at that time resided at Truro. He
interested himself in his advancement, and lent
him some of his pictures to study and copy. By
Wolcott' s assistance and recommendation, the
talents of young Opie soon became known through-
out the county, and he met with considerable em-
ployment as a portrait painter. His earUest efforts,
though not distinguished by taste, or a graceful dis-
position of the figure, were extraordinary produc-
tions for an artist reared in so remote and secluded
a situation. About the year 1777 he was introduced
to Lord Bateman, who employed him in painting
old men, beggars, &c., which he designed with
uncommon vigour and great truth of expression. In
1780 he visited London under the auspices of Dr.
Wolcott, where his merit and the extraordinary
circumstances of his early artistic life, made him
the object of widespread interest. Commissions
crowded upon him, his partisans were zealous in
his praise, and for some time ' the Cornish wonder '
was the rage.
The powers of Opie were not calculated to flatter
the frivolity of fashion ; he was not very suscept-
ible to female grace, and his portraits of men were
rather distinguished by identity and truth, than by
dignity. Thus it was not long before the curiosity
excited on his arrival in London in a great degree
subsided, but as his talents were not confined to
portraiture, he continued to meet with employment
in painting domestic or rustic subjects. The great
undertakings which were in hand at this time, such
as Boydell's ' Shakespeare,' Bowyer's ' English
History,' Macklin's ' Poets and Bible,' opened a
new field to Opie, and perhaps his most popular
performances were his pictures of the 'Murder of
James I. of Scotlaiid,' the ' Death of Rizzio,'
' Jephtha's Vow,' the ' Presentation in the Temple,'
and 'Arthur supplicating Hubert.' In the best of
these he shows not only vigour, but also a curious
sense of style which is hardly to be found in any
other Buglish historical pictures of the time.
On Fuseli's appointment to the office of Keeper
of the Royal Academy, in 1806, Opie became a
candidate for the vacant professorship of painting,
and was elected. In that capacity he read four
lectures at Somerset House, which bear testimony
to the extent of his powers, and to his acquaintance
with the theory of his art. He died in 1807, and
his remains were interred in St. Paul's Cathedral,
near those of Sir Joshua Riyuolds. A catalogue
Opitz
PAINTERS AND ENGRAVERS.
Orelli
of his paintings was published in 1878. There are
in public collections :
Loudon. National \ Portrait of Himself.
Portrait Gallery.^ „ Bartolozzi.
„ ■ „ Th. Holoroft.
„ National Gallery. „ "William Siddons.
„ „ „ Mary Wollstone-
craft-Godwiu.
„ City Art Gallery. „ Daniel Pinder.
„ „ Murderof James I., of Scotland.
„ „ Murder of Rizzio.
Dulwich. Gallery. Portrait of Himself.
Manchester. Gallery. Troilus, Oressida, and Pan-
darus. {Lent by the National
Gallery. )
OPITZ, Georg Emanuel, was born at Prague in
1775, and studied under Casanova in Dresden. Up
to 1807 he painted portraits in oil and miniature,
but then commenced painting popular scenes,
character sketches, costume figures, and so forth.
In 1813 he followed the Duchess of Courland to
Paris, where he found a rich source of such sub-
jects. Afterwards he lived at Heidelburg and
Altenburg, and finally settled at Leipsic, where he
died in 1841. He was also successful in aquarelle
and gouache painting, and as an engraver.
OPPENORD, GiLLES Marie, (or Oppenort,) a
draughtsman and architect, was born in Paris in
1672, and was sent with a pen^iion from the king to
Rome, where he spent eight years. He died in
Paris in 1742. He prepared the designs for the
high altars of St. Germain dea Pr^s and St. Sulpice.
Huquieres engraved some ornaments after him.
OPPERDOES, Jan Pietersz, a Dutch painter,
was born at Amsterdam in 1631 or 1632. In 1648
he was bound apprentice to Govaert Gamphuysen.
Little is known of him. In the Rijks-Museum
there is a landscape by him, signed Opperdoes.
OPPERMANN, 0. There is a miniature of the
Czar, Alexander I., in the Dresden Gallery, signed
with this name, and dated 1809.
OPPI, Bernardino, a designer and engraver, who
worked at Rome in 1590. He helped to engrave
a collection of sixteen plates representing the
'Virtues,' after designs by Lanfranco, which are
dedicated to Cardinal Piccolomini.
OPSTAL, Antony van, a Flemish painter, who
was in the service of the Archdulte Charles of
Austria, in 1624. Nagler says that Van Opstal
lived at Brussels, and that Van Dyck painted his
portrait. Jan Meyssens was his pupil and engraved
after him.
OPSTAL, Gaspar Jacob van, the younger, was
born at Antwerp in 1654. He was probably a
pupil of his father. In 1676 he entered the guild,
of which in 1698-9 he was dean. He painted his-
tory and portraits, and there are several of his
works in the churches in Flanders and Brabant ;
but the defective pigments which he used have
caused them to darken. In 1714 he was employed
by Marshal Villeroy tcf copy the celebrated altar-
piece by Rubens, in the cathedral at Antwerp,
representing the ' Descent from the Cross,' together
with the shutters of the organ. The commissions
which he received were so numerous that he fre-
quently had to entrust them to his pupils. He
died at Antwerp in 1717. Of his other works we
may name :
Antwerp. Museum. A Portrait. 1699.
„ Jesuits' Ch. The Child Jesus addressed by
Angels. 1693.
Darmstadt. Gallery. The Holy Family resting near
a classic ruin.
St. Omer. Cathedral. The Fathers of the Church.
OPSTAL, Gaspar van, the elder, a painter of
Antwerp, who studied under Simon de Vos in 1632.
He was admitted a master in 1644. His son,
Gaspar Jacob, was a better painter than he.
ORAMji Edward, an English landscape painter
in the latter half of the 18th century. He was the
son of William Oram, and acted as assistant to
Loutherbourg. He exhibited at the Incorporated
Society in 1766, and at the Academy from 1775
to 1799. A work of his, apparently posthumous,
I Precepts and Observations on the Art of Colour-
ing in Landscape Painting,' was published in
1810.
ORAM, William, called 'Old Oram,' was
brought up as an architect, but taking to land-
scape painting, arrived at success in that branch
of art, and was, in 1748, made superintendent of
the Board of Works by the interest of Sir Edward
Walpole, who had several of his pictures and draw-
ings. There is a picture by him in the Hermitage
at St. Petersburg ; it probably went there with the
Houghton Collection. Oram was much employed
in decorating halls, staircases, and- the panels over
chimney-pieces. Walker has engraved the tri-
umphal arch erected by him for the coronation of
George III., at Westminster Hall, and has intro-
duced the entrance of the Champion and the Lord
Chancellor.
ORATII, (or Orazi,) Alessandbo, painted about
the middle of the 16th century, at Bologna. Mal-
vasia speaks of a picture of the Virgin by him,
which he found over the Macchiavelli altar in the
church of San Francesco.
ORAZI, Andrea Antonio, painted in fresco and
in oil. He was born about 1630, and was a pupil
of L. Garzi and C. Ferri in Rome. In the Crozat
collection was a drawing by him, ' The Angel and
Gideon's Fleece,' which was etched by Caylus, and
engraved by N le Sueur. He died about 1690.
Giuseppe Orazi, who painted the vault of St. Maria
del Orto, is believed to have been a. relation of
Andrea Antonio.
ORAZZI, Niccol6, was an Italian engraver, who
flourished about the year 1760. He was employed
to execute part of the plates for the ' Antiquities of
Herculaneum,' published by the authority of the
King of Naples.
ORBETTO, L'. See Turchi.
ORCAGNA. See Cione.
ORDE-POWLETT, Thomas, an English ama-
teur etcher, born in 1746. His plates are chiefly
caricatures and portraits. There is a burlesque
portrait of Voltaire by him, signed ' T. 0. fecit,
1772.' He was raised to the peerage as Lord Bolton
in 1797, and died in 1807.
ORDONNANCE. See Mouoheeon, Is.
ORELLI, Antonio Baldassarb, an obscure
painter of the Milanese. There is a large altar-
piece by him in the ' Calvary ' Church at Domo-
Dossola.
ORELLI, Giuseppe Antonio Felice, was born
in 1700, in the Milanese, and received his first
instruction in art from his father, Antonio Bal-
dassare. He also worked under Baptista Sassi for
eight years, but Tiepolo having been called to Milan
by Count Arohinti, Orelli had the good fortune to
be employed by him, and afterwards accompanied
him to Venice. There he remained six years. He
then went to Bergamo, where he executed several
works for the convents and churches, also at Milan
for Count Brentato. He also painted a few portraits.
He died in 1774.
229
Orfelin
A BIOGRAPHICAL DICTIONARY OP
Orley
ORFELIN. See L'Hoefelin.
ORIENT, Joseph, was born at Burbach, nea,r
Eisenstadt, in Hungary, in 1677, and was a pupil
of Anton Feistenberger. He became sub-director
of the Academy at Vienna, and died there in 1737.
It is said that he made use of a concave mirror in the
painting of his landscapes, in which Ferg, Canton,
and Janneck used to supply the figures. Among
them are :
Landscape with a Hunt. (Ziechtenstem Col.)
A Flat Landscape. {The same.)
Tvfo Tyrolese Landscapes. (Belvedere.)
Forest, with Game (engraved ly Eosel).
Mountain Landscape, with river. (Town Gallery, Stutt-
gart.)
ORIBNTB, Josfe, a Spanish painter, born in or
near Villareal in Valencia, who painted in the
capital of that province about 1680-9. Among
other works by him, are ' Virgin of the Rosary,' in
the church of S. Felipe Neri, and a portrait of Do-
mingo Sarrio, which was engraved by Crisistomo
Martinez.
ORIOLI, Bartolommeo, was of Treviso, and
painted there about 1616. His principal work is
a large picture painted for the church of Santa
Croce, in which there is a procession of the inhabit-
ants of Treviso, all portraits.
ORIOLI, Giuseppe, painted at Mantua. His best
picture is ' The Last Supper,' in the Refectory of
the Carmine in that place. He died in 1760.
ORIOLO, Giovanni, of Ferrara, is known only
by a portrait of Leonello d'Este, in the National
Gallery ; it is signed Opus Johanis Orioli, and
was formerly in the Costabili Gallery at Ferrara.
Oriolo painted in the middle of the 15th century.
He is supposed to have been a pupil of Vittor
Pisano of Verona, called Pisanello, because this
Leonello d'Este is a free copy from one of that
master's medals.
ORIZONTE. See Bloemen, J. F. Van.
ORLANDI, Deodato, lived at the close of the
13th century, and is the author of a ' Cruciiix' now
in the Palace of Parma, and bearing the date 1288.
In the Pisa Gallery there is a ' Virgin enthroned
between SS. James, Damian, Peter, and Paul,'
painted by him in 1301. No certain dates can be
given for his birth or death.
ORLANDI, Francesco, the son of Stefano
Orlandi, was born in 1725, and educated by his
father. He painted in the same style for theatres
at Leghorn and a chapel at Cente, and was Pro-
fessor of Architecture in the Clementine Academy
at Bologna. He was also a good musician. He
died at Bologna in 1769.
ORLANDI, Giovanni, an engraver and pub-
lisher of prints in Rome between 1590 and 1640.
He followed the style of Cornelius Cort. The
number of engravings executed or published by him
is considerable. Among them are ' The Last Judg-
ment,' after Michelangelo, and 'The Transfigura-
tion,' after Raphael ; also from forty to fifty portraits,
and a plan and view of Genoa, dated 1637.
ORLANDI, Odoardo, an obscure Bolognese
painter, and pupil of Pasinelli. He was born in
1660, and died in 1736.
ORLANDI, Stefano, was the son of Odoardo
Orlandi. Stefano was born in 1681, and studied
under Pompeo Aldrovandini, with whom he went
to Rome. In 1684, in conjunction with Giuseppe
Orsoni, he painted in many theatres in Italy, in the
Saloon of the Palazzo Ranuzzi, and, with Francesco
Monti, for the Martinengo family at Brescia. He
died in 1760.
230
OBLANDINI, GiULio, painted in Parma in the
middle of the 17th century.
ORLANDO, Bernardo, was appointed court
painter at Turin in 1617.
ORLANDO OF PERUGIA, was one of the fol-
lowers of Perugino. In 1509 he was painting in
conjunction with Sinibaldo Ibi, at Gubbio, of which
place he was made a citizen between 1502 ai;d
1506.
ORLEANS, FBANgois d', a French artist, who
was born at the end of the 15th century, and
worked at Fontainebleau under II Rosso.
ORLEY, Van (or Orlat). The important artistic
family of the Van Orleys flourished in Brussels for
three centuries. The following pedigree is given
by Alphonse Wauters :
Valentine van Orley, 1466, d. before 1532.
Philip, Bernard, Everard,
1606—1566. 1493 (?)— 1642 (?). working
I 1504.
Michael,
working
1590.
Jerome,
working
1667—1602.
Gues,
working
1533-63.
Jerome.
Jerome, Pieter, Franz,
working 1680— d. after lf08.
1652. I
Richard (II.), John,
1662(?)-1732{?). 1656-1736.
Gomar,
working
1633.
Josine,
Mar. Ant. Leyniei-s
(tapestry worker).
Richard (I.).
Bernard, (or Babend,) van Orlet, as will be seen
from this table, was bom about 1493. At an early
age he quitted Brussels for Rome, and studied in the
school of Raphael, becoming, it is said, a great
favourite with his master. He returned while still
very young to his native country, where he was
appointed painter to Margaret of Austria, Govern-
ess of the Netherlands. Together with Michael
Coxie, he superintended the making of the tapes-
tries ff om Raphael's cartoons, which were actually
woven by Pieter Van Aelst, in Brussels. Follow-
ing his master's example, he made, too, a large
number of designs for tapestry, among the most
famous of which are 'The Life of Abraham,' at
Hampton Court, and ' Maximilian's Hunt,' in the
Louvre. He also made designs for windows.
Those on which the portraits of Francis I., Charles
v., and Mary of Hungary appear, in the church
of St. Gudule at Brussels, are from his cartoons.
Bernard married as his first wife, Agnes Seghers,
by whom he had seven children ; and, as his
second, Catherine Hellinckx, who bore him two.
In 1527, the whole family of Van Orley, together
with many of their connections, among the latter
Jan Van Conninxlo, were arrested for being pre-
sent at secret services of the Reformed Church.
There is no evidence beyond that, however, to
show that Bernard was a Protestant. In his
pictures he combined a superficial resemblance to
various Italian masters witlj his more deeply seated
Flemish tastes. Among the best we may name :
Antwerp. Ch. ofS. James. The Last Judgment.
Brussels. Museum. The dead Child, with Virgin
and Saints (a triptych).
„ „ The Patience of Job (a trip-
tych; elaborately signed and
4ated).
„ „ Portrait of George van Zelle, a
doctor of the 16th century.
„ „ Portrait of Guillaume de Ncr-
maa.
„ „ Episode in the life of the Virgin.
(The detached wings of a trip-
tych^
„ -, A Holy Family.
Orley
PAINTERS AND ENGRAVERS.
Orrente
Dresden.
Dublin.
London.
Lubeck.
Madrid.
Paris.
Petersburg.
Kotterdam,
Vienna.
Gallery.
Nat. Gall.
Nat. Gall.
Cathedral.
Museo.
Louvre.
Hei'mitage.
Museum.
Liechtenstein Coll.
A Holy Family {bought in Lon-
don in 1875).
The Magdalen Beading.
The Magdalen reading.
(Similar to the picture at
Jhthlin.)
The Trinity worshipped by
Saints.
Two groups of Supplicants be-
fore Saints.
Marriage of the Tirgin.
The Descent from the Cross.
Christ on the Cross.
A Diptych with scenes from
Jewish History.
A * Hiposo.'
Two portraits, male and female.
A great number of pictures referable to the
school of Van Orley are extant, among them the
so-called Leonardo da Vinci at Gatton Park, the
' Vierge, au bas-relief,' which seems to be a copy
from a picture by Cesare da Sesto, now in the
Brera, which is itself a compilation from various
sources. W.A.
ORLEY, (or Oblay,) Richaed van, was the
eldest son of Peter van Orley, of the same family
as Bernard. Peter was a landscape painter, and
had two sons — Richard, who died in 1732, and
Jean, who died in 1735. They were each then
from twenty to twenty-two years of age. Their
first master was their father, but he soon placed
them under the guidance of his brother, who was
a monk and artist. Richard painted in the Italian
style, and engraved a number of plates after
different masters. The uncle, Richard, painted
some fine pictures for the church of his order, ' The
Recollets,' but Jean was the most able of them all,
as he painted a number of pictures for churches,
and made many fine designs for tapestry. They
are mostly done on blue paper with the pen, and
shaded with Indian-ink. Those by Richard are
miniatures or designs for book-illustrations in Indian-
ink, and were much admired by Pioart le Remain.
ORLOWSKy, Alexander Ossipowitsch, a
painter, designer, etcher, and lithographer, who
was born at Warsaw in 1777. He studied under
Norblin, and at the Academy of St. Petersburg,
after which he travelled in Prance, Germany, and
Italy. He distinguished himself at this period
chiefly by his battle-pieces. In 1812 he was named
court painter to the Czar, Alexander I., an appoint-
ment which the next Czar, Nicholas, continued. He
died at St. Petersburg in 1832. His best pictures
of battles are in the possession of the Russian
Emperors, but others, together with sketches from
Russian popular life, historical pictures, and por-
traits, are in the collections of the nobility of that
country. Bight hunting and rural pieces are in
the Hermitage. He also executed a number of
drawings which either himself or others repro-
duced in lithography,, among them the humorous
' Cat Court.' Four original lithographs by him
represent military subjects, and his own portrait.
There is also a scarce etching of a ' Race-horse
and Jockey ' from his hand.
ORME, Anton de l'. See De Lobme.
ORMB, Daniel, an engraver and miniature
painter. He worked about 1800, and exhibited
many portraits in miniature, and one or two in
oils at the Royal Academy, between 1797 and
1801. He engraved in stipple many portraits of
persons celebrated at the time, some battle-pieces,
and a picture of 'Alexander and Thais,' from a
picture painted by himself. There is a water-
colour drawing of Margate New Pier by him in
the South Kensington Museum, dated 1799.
ORMEA, Marc, a painter of Utrecht, who was
dean of the College of painters from 1621 to 1625.
He painted sea-pieces.
ORMEA, WiLLEM, son of Marc, was a painter of
still-life. In 1638 he presented to the Hospital of
St. Job (UtrechtJ a picture of various kinds of
fish.
ORMIS, LioNABD, an obscure Burgundian, who
painted at Li^ge in the 16th century.
ORO, II Monaco del' Isola d', a painter, poet,
and historian, was born in Genoa about 1346. He
became a monk in the monastery of the Isola
d'Oro (Stecati), and subsequently libl-arian there.
He wrote several books which he embellished with
miniatures, and presented to the Queen of Aragon.
He died in 1408.
OROZCO, MiECOS DE, a Spanish priest and
engraver, who resided at Madrid in the 17th
century, and executed many title-pages to books
printed in his time. The title-page to Ortiz de
Zuniga's 'Annals of Seville,' published in 1677,
is probably the best work from Orozco's burin.
There are many devotional prints by his hand.
Among them portraits of St. Francis de Sales ; of
the Bishop Crespi di Borj a, executed in 1664; in
1680 the title-page bearing the royal arms, and
a curious folding plan for the authorized history
of the great auto-da-f6 at Madrid ; in 1682, a
' Crucifix and angels bearing shields charged with
episcopal devices,' designed by Ximenez Donoso,
and prefixed to an official account of the synod
held at Toledo that year ; in 1696, a title-page
containing efBgies of the seven first canonized
bishops of Spain, for Don Pedro Juarez's ' History
of the united sees of Guadix and Baza ; ' and in
1597, an ' Our Lady of the Forsaken,' and the arms
of the Archbishop Rocaberti of Valencia, for Don
Felipe Firmin's treatise on minor benefices.
ORRENTE, Pedro, was a Spanish painter, born
at Montealegre, in Murcia, about the year 1560.
He was probably a scholar of II Greco's, at Toledo,
but he subsequently visited Italy, where he became
a follower of the Venetian school, and an imitator
of Titian, Giorgione, and Bassano. He was favoured
with the protection of the Duke of Olivarez, who
employed him in painting several pictures for the
palace of the Buen Retire at Madrid. Soon after
1611 he painted for the Vizconde de Huesca, in
Murcia, eight pictures on ' The History of the Crea-
tion ; ' and in 1616 he produced a ' St. Sebastian,' for
the cathedral at Valencia, where also he established
a school in which Pontons and March were among
his pupils. He next proceeded to Cuen§a, where
he founded another school, in which be had Sal-
meron for a scholar. Many of his works are in the
churches and convents at Valencia and Cordova.
In the cathedral at Toledo, over the door of the
sacristy, is a fine picture representing ' Santa Leo-
cadia coming out of the sepulchre, before St. Ilde-
fonso ; ' and in the Reyes Nuevos, in the same
church, was a 'Nativity' painted by him, which
has been since removed into the royal collection.
Another picture by this master representing ' Or-
pheus playing to the brute Creation ' hangs in the
Royal Palace. There are also in the king's posses-
sion four landscapes, whilst the Madrid Gallery
has eight of his paintings, including ' The Ador-
ation of the Shepherds,' and ' The Repose of Lot's
Family.' A 'St. John in the Wilderness' was
in the Suermondt Collection at Aix-la-Chapelle, and
231
Orsay
A BIOGRAPHICAL DICTIONARY OF
Os
other works of his are at Dresden, Paris, and St.
Petersburg. Being especially suooessful with
animals and landscapes, he made choice of such
Biblical subjects as permitted the introduction of
these. His last years were spent at Seville and
at Toledo, where he died in 1644, and was buried
in the same church as II Greco.
ORSAY, CoMTE d', the son of General d'Orsay,
an oEficer of the French Republic and Empire, was
born in Paris at the beginning of the present
century. When about twenty years of age he
entered the French military service, and whilst
with his regiment at Valence, became acquainted
with the Earl of Blessington and his Coimtess.
After that he threw up his commission and
travelled with them on a tour in Italy, eventually
marrying Lord Blessington's daughter by his first
wife. He was appointed Superintendent' of the
Fine Arts by Louis Napoleon, but shortly after-
wards (1852) he died of disease of the lungs. There
is a half-length by him of the Duke of Wellington
in the National Portrait Gallery, and the South
Kensington Museum possesses some of his pencil
caricatures. D'Orsay also practised sculpture.
ORSEL, Victor, a French historical painter,
born at Lyons in 1795. He went to Rome, where,
about 1825, he came under the influence of Over-
beck, but he also studied from the antique, and was
a close observer of nature ; his object being, as he
said, ' to baptize Greek art.' In Paris he was one
of the artists employed in the chapel of the Virgin
in the church of Notre Dame de Lorette. Orsel
died in 1850. Among his other works are :
La Charity. 1S22. {Lyons Hospital.)
Adam and Eve with the body of Abel. 1824.
Moses, when a cbild, presented to Pharaoh. 1839.
{Exhibited in the Capitol at Home,)
Good and Evil. 1833. {Engraved by Vibert.)
ORSI, Benedetto, was a native of Pesoia, and
flourished about the year 1660. Lanzi numbers
this artist among the disciples of Baldassare Fran-
ceschini, and mentions in favourable terms a
picture by him in the church of San Stefano, at
Pescia, representing ' St. John the Evangelist. '
He also painted the ' Seven Works of Mercy,' for
La Compagnia del Nobili, and a large lunette at
Pistoja, in S. Maria del Letto, which was long
attributed to Volterrano. He died about 1680.
ORSI, Lblio, called Lelio da Novellaea, was
a painter, designer, and architect, and was born
at Reggio in 1511. Having been banished from
his native city, for some unknown reason, he first
proceeded to Rome, and subsequently established
himself at Novellara, whence his common appella-
tion. From the similarity of his style to that of
Cnrreggio, he has been supposed to have been a
disciple of that master, with whom he was
certainly on terms of friendship. That he studied
CoiTCggio's works attentively is evident, from
his having occasionally copied his pictures, of
which one of the most remarkable is a fine copy
of the famous 'Notte,' in the Casa Gazzola, at
Verona. Others have stated him to have been a
scholar of Michelangelo ; but this tradition is
suspected, although Tiraboschi asserts that he
resided at Rome in the time when that artist was
painting some pictures for the churches. There
were many of his fresco works in the churches at
Eeggio and Novellara, which are now nearly all
perished: Orsi died in 1587. Italian writers say
be was "in pittura grande, in arohitettura ottimo,
232
e in disegno masshno " (in painting great, in
architecture best, and in drawing >;reatest).
ORSI, Peospero, was born at Rome, apparently
about 1560. He lived during the pontificate of
Sixtus v., who employed him in the palace of S.
Giovanni Laterano, where he painted two of the
ceilings, one representing ' Moses with the Children
of Israel passing the Red Sea ; ' the other, ' Jacob
receiving the Blessing from Isaac' He was the
particular friend of Giuseppe Cesare d'Arpino,
whose manner of painting he imitated. He died
at Rome in 1635.
ORSI, Tranquillo, was a painter and architect
of Venice in the present century, who died, in
1844, while professor of perspective there. He
produced views of churches, palaces, and pubhc
buildings, and some of his works are in the Venii. e
Academy.
ORSINI, Antonio, a native of Ferrara, who
engraved there about 1730.
ORSOLONI, Carlo, an Italian en.^raver, was
born at Venice about the year 1724. He carried
on a considerable commerce in prints, and was
employed in engraving some of the plates for (he
' Museo Fiorentino.' Among others, we have the
following by him :
St. Jerome in Meditation ; after Ant. Balestra.
St. Francis de Sales ; after the same.
The Virgin with several Saints ; after Pietro Eicchi.
ORSONI, Giuseppe, (or Orsini,) a Bolognese
painter, born 1691, died 1755. He was a pupil of
Pompeo Aldrovandini, and worked much with Sle-
fano Orlandi at ornamental painting in theatres and
private houses.
OETIGA, Bonant de, painter to the deputies
of Aragon, was living in 1457. He painted rji
altar-piece with figures of St. Simon and St. Jude
for the church of St. Francis, in Saragossa.
OBTO, Diego de, was a miniature painter of
Seville, son of Bernardo de Oeto. Between 1540
and 1576 he decorated a number of choir-books,
&c. In some of these his brothers assisted him.
OETOLANO, Dell'. See Benvendti, Giov.
Batt.
ORVIETANI, Andrea and Bartolommeo, were
two painters who worked at Orvieto between 1405
and 1457.
ORVIETANO, Uqolino, a painter, who was em-
ployed in the cathedral of Orvieto about 1321.
OS, Greqqhius Jacobus Johannes van, flower
painter, was the second son of Jan van Os, and
was born at the Hague in 1782. He gained a
prize at Amsterdam in 1809, and on going to
Paris in 1812 he won a gold medal, and was em-
ployed on designs for Sevres. Here he spent the
greater part of the next fifty years, painting flowers
after the manner of Van Huysum, and now and
then exhibiting landscapes. Two of his best flower-
pieces are now in the Hague Museum. Van Os
died in Paris in 1861. He was a member of the
Academy of Amsterdam. Among his works we
may also name :
Amsterdam. E. Museum. Flowers.
Rotterdam. Museum. Flowers.
„ „ Fruit and Flowers.
)! „ Landscape in Guelders.
OS, Jan van, a painter of fruit, flowers, and
marine subjects, was born at Middelharnis, in
Holland, in 1744, and was a scholar of Aart
Schouman, at the Hague. His marine-pieces are
only fair, but his fruit and flowers are in great
request, and approach those of Jan yan Huysum.
Os
PAINTEKS AND ENGRAVERS.
Ostade
He died at the Hague in 1808. A good ' Vase of
Flowers' by him is in the possession of Cromer of
Rotterdam. Jan van Os was also a poet. Among
his works may be included :
Frankfort. Stadel Gal. A Sea-piece.
Loudon. Nat. Gal. Flowers, Fruit, and Dead Birds.
Paris. Louvre, Flowers and Fruit.
Petersburg. Hermitiiye. Flowers and Fruit.
OS, PiETER Gerardus VAN, the eldest son of
Jan van Os, was born at the Hague in 1776, and
was instructed in the elements of art by his father,
but devoted himself mainly to cattle painting, and
made the works of Paul Potter and Karel du
Jardin his models. His etchings, consisting of
cattle, sheep, &c., from his own designs, and
also after Paul Potter, Berchem, and Ruisdael,
are valuable. His prints are sometimes signed
P. G. van Os fee. et exc, and sometimes with ids
initials only, P. G. V. O.f. He died at the Hague
in 1839. There is a good ' Landscape with Cattle '
by him in the Rotterdam Museum.
OSBORNE, John, an English portrait painter,
who practised at Amsterdam in the 17th century.
There is a portrait of Frederick Prince of Orange
by him.
OSELLO, Gaspar, called Gaspar ab avibds Cit-
ADELENSis, Or Gaspar Patavinos, Or Padovano,
was an engraver, born at Padua in 1630. He imi-
tated Ihe style of Giorgio Ghisi Mantuano, whose
pupil he may possibly have been. He lived until
1585. He has left sixty-six plates of ' Portraits of
the Archdukes of Austria ; ' also that of the Phy-
sician Andreas Mattiolus Sinensis, and a 'Mar-
riage of the Virgin,' after Paolo Veronese. He
signed his prints with a monogram composed of
the letters, C.A.P.
' OSORIO. See Meneses.
OSSENBEECK, Jan (or Josse van), a painter and
etcher, was a native of Rotterdam, born about
1627. After having received some instruction in
his native city, he went to Italy, and distinguished
himself at Rome as a painter of landscapes, with
animals, fairs, and huntings, in the style of Peter
van Laar, whose works were then greatly admired.
Thence he proceeded to Vienna, where he became
court painter ; next to Frankfort ; and, lastly, to
Ratisbon, where he died in 1678. He usually
embellished his pictures with waterfalls, grottces,
ruins, and architecture, designed from the remains
of antiquity in and near Rome. Pictures :
Christiania. Plundering of a Caravan.
Dresden. Gallery. Group of Herdsmen.
Glasgow. Gallery. A Hawking Party.
New York. Museum. Abraham with Sarah and Hagar
in a romantic landscape.
Vienna. Melvedere. Jacob's journey to Mesopotamia.
We have by this artist sixty-two etchings, exe-
cuted in a firm and free style, twenty-seven of
which are from his own designs, and thirty-two
after other masters. He engraved part of the
plates for the collection called the 'Gallery of
Teniers.' Among his plates the following may be
particularized :
Two T andscapes ; after Salvator Roaa.
Christ asleep during the Storm ; after S. de Vliecjer.
Cavalcade of the Emperor Leopold in the Fort at Vienna.
Procession of the Emperor Carl VI. to Schottwien.
The Caffarella.
The Children of Niohe ; after Palma.
The Children of Israel gathering the Manna in the
Desert ; after Tintoretto.
Orpheus playing to the Animals ; after JSassano.
The Four Seasons ; aftei- the same.
A set of twelve plates of different Animals ; from his
own desiy)is.
A set of four of difEerent subjects ; the same.
Two Views in and near Eome ; the same.
A Boar-hunt ; after Peter van Laar.
A grand Festival given at Vienna, with a great number
of figures on horseback and on foot ; A. Lartucci inv.
J. Ossenbeeck sc.
OSSENBEECK, W., a Dutch painter, of whom
scarcely anything is known. He flourished about
1632, and may have been the father of Jan van
Ossenbeeck. In the Rijks Museum, Amsterdam,
there is a picture by him of ' Mercury and lo.' It
is signed W. Ossenbeeck, F. 1632.
OSTADE, Adriaen Janszoon van, ii celebrated
and prolific painter of scenes from Dutch peasant
life, was born at Haarlem on the 10th of December,
1610. His father, Jan Hendrik, was probably a
weaver, and had retired before the religious per-
secutions from the town of Eyndthoven. His
mother's name was Janneok Hendrik, and the
children adopted the name of Ostade, from a small
hamlet of that name near Eyndthoven, which may
have been the birthplace of their father. Adriaen
and his younger brother Isack became artists, and
the former, entering the school of Frans Hals, was
there the fellow-student of Adriaen Brauwer. On
leaving Hals, Adriaen set up as a painter in Haar-
lem, and his name as Ostade is first mentioned in
1636, when he is recorded under it as a member of
the Sohutterij or civic guard. In 1638 he married
Machtelgen Pietersen, who died in 1640 ; and his
father in the following year. His own portrait,
painted by himself in middle life, presents a grave
and melancholy face. His costume is that of a
Puritan ; and altogether the portrait is not that
of the loose and jovial man we should expect
from the riotous scenes that he selected for the
subjects of his pictures. It has been ascertaimd
that he married a second time, but the name of this
wife is not known. She died in 1666, and Adriaen
himself, on the 27th of April, 1685, in the Nieuwe
Kruysstraet. On the 2nd of May he was buried in
the church of St. Bavon, where he had previously
laid the remains of his two wives. The sale-list of
the works of art he left included two hundred
pictures by his own hand, and a collection of his
etchings, drawings, &c. Smith's catalogue men-
tions nearly four hundred of Adriaen van Ostade' s
oil pictures. He executed besides an unknown
number in water-colours, and a vast quantity of
pencil drawings and etchings. Of the latter Bartscli
has enumerated fifty. The Teyler Museum at
Haarlem contains a fine collection. Besides his
younger brother Isack, Adriaen had the following
pupils : Cornells Dysart, Cornelis Bega, Michiel
van Musscher, R. Brackenburgh, and Jan Steen.
These all adopted more or less of Adriaen's manner.
The following are some of Adriaen Ostade's more
important works :
Amsterdam. Museum. A Painter's Studio. A. v. o.
, Travellers resting. A. v. ostade,
1671.
The Charlatan. A. v. ostade,
1648.
„ „ The Baker.
., Van der Hoop C. Peasants round a Hearth
(Dated 1661.)
„ Six Collection. The Fish-wife.
Antwerp. Museum. The Smoker. A. V. ostade,
1655.
Berlin. Gallery. Portrait of an Old Woman . A
V. OSTADE, 16 —
„ „ The Lyre-player before an Ale-
house. A. V. OSTADE, 164IJ.
233
Ostade
A BIOGRAPHICAL DICTIONARY OF
Berlin.
Brunswick.
Brussels.
Cassel.
Gallery.
Gallery.
V
Gallery.
Arenheri) Coll.
Gallery.
A. V. OSTADE,
Darmstadt,
Dresden.
Gallery.
Gallery.
Dublin.
Dulwich
Edinburgh,
Florence.
Frankfort.
Glasgow.
J)
Hague.
IiOndon.
Nat. Gall.
Gallery.
The Smoker.
1667.
The Annunciation.
A Peasant smoking.
Man eating Herrings.
Interior of a Tavern.
Peasants in the Arbour of an
Ale-house. A. v. ostade,
1676.
Peasants drinking in an Ale-
house. A. V. OSTADE, 16 — .
Peasants playing Cards. A. v.
OSTADE, 1659.
Peasants dancing.
Peasants in an Ale-house, a.
T. OSTADE, 1639.
The Painter's Studio. A. v.
OSTADE, 1663.
Two Peasants eating at a Table.
A. T. OSTADE, 1653.
Two Peasants before an Ale-
house, one lighting a Pipe.
A. V. OSTADE, 1664.
Interior of an Ale-house, with
Men and Women. A. V. os-
tade, 1679.
Peasants playing Cards. AD.
OSTADE, Ft.
Boors carousing.
Boors making merry. A. v. OS-
TADT3, 164 — .
„ Man and Woman in conversa-
tion.
„ A Man smoking. A. v. ostade.
„ A Woman with a Jug. A. V.
OSTADE.
Nat. Gall. Interior of a Butcher's Shop.
Uffizi. A Man at a Window.
Stddel. Interior of a Shed. A. V. OS-
TADE, 1656.
Gallery. The strolling Fiddler.
„ The Village School.
Gallery. Peasants in an Inn A. T. 03-
TADF, 1662.
„ The Fiddler. A. v. ostade,
1673. {Ploos van Amstel
made a facsimile engraving
from a drawing ly A. van Os-
tade, dated 1673, exactly simi-
lar to this picture.)
Nat. Gall. The Alchymist. A. v. ostade,
1661.
Apsley House. A company of Peasants. (The
drawing for this picture is in
the British Museum.)
Ashburton Coll. Feasants playing and singing.
(Sated 1661.)
„ A Village Scene. (Bated 1676.)
Bridgewater Ho. Peasants playing Skittles. A.
V. ostade, 1676.
„ Portrait of an Old Man (proh-
ably a lawyer). 1671.
Feasants conversing, a. t. os-
tade, 1650.
An Interior, with Peasants
smoking. A. V. OSTADE, 1665.
Lawyer in his Study.
Four Persons playing at Cards.
(Dated 1648.)
[And fine examples in the Collections of Lord Howe, Mr.
H. Lonsdale, Mr. Alfred de Eothschild, Mr. John Walter,
Mr. Alfred Buckley, Lord Eothschild, Mr. George
Salting, &c., and at Deepdene, near Dorking.]
Munich.
Pinakothek.
»
)j
Oxford.
Paris.
Univ. Gall
Lmvre.
Pesth.
Buckingham Pal.
Bute Coll.
Northbrook Coll.
Gallery.
Petersburg. Hermitage.
Madrid.
Munich.
234
Gallery. A Concert.
„ Peasants feeding.
„ A Toper.
Pinakothek. Interior of a Peasant's Cottage.
A. V. OSTADE, 1647.
„ Peasants quarrelling. A. v. os-
tade, 1656.
„ Feasants playing and dancing.
A. V. ostade, 1647.
„ A Toper. A. v. ostade.
„ Peasants carousing, a. v. os-
tade.
Rotterdam. Museum.
Vienna.
Belvedere.
Czernin Coll.
Liechtenstein Coll.
Ostade
Peasants in an Ale-house. A.
V. ostade, 16 — .
Peasants in an Ale-house, with
a Woman and her Children.
A Dutch interior.
The Family of Adriaen van
Ostade.
The School-master. A. v. os-
tade, 1662.
The Fish-market.
Interior of a Cottage, a. v. os-
tade, 1642.
A Man reading in his Cabinet.
A Smoker.
A Toper. A. V. ostade, 1668.
Interior of a Peasant's Cottage,
A. T. OSTADE.
Interior, with Peasants.
Peasants drinking.
Interior, with Peasants.
A Man mending a Pen.
Interior, with Peasants, a. v,
OSTADE.
A Village FSte.^
A Peasant Family.
The Violin-player. (Signed and
dated 1648.)
An old Woman seated on a
Window-sill, surrounded by
a Vine.
A Village Minstrel playing a
Hurdy-gurdy.
The Baker. (Signed.)
The Village Concert.
Peasants smoking.
Peasants, while smoking and
drinking, listen to a Woman
who reads a Letter.
A Peasant Family.
Peasants in an Ale-house.
Touch. (Signed.)
Sight. (Signed and dated 1651.
Taste.
Peasant in a Cottage.
Landscape.
A Man reading, a. t. ostade.
A Village Tavern.
The Mountebank.
Peasants.
A Smoker.
A Drinker.
Four good pictures.
OSTADE, ISACK VAN, the brother and scholar of
Adriaen van Ostade, born at Haarlem in 1621.
Little is known of his life. He painted at Haarlem,
and died there in 1649. His earliest pictures were
painted in imitation of the style of his brother, and
are very inferior to the works of Adriaen; but he
afterwards adopted a manner of his own, in which
he was most successful. This latter is to be found
in his pictures representing winter scenes . and
frozen canals, with figures amusing themselves on
the ice. Some of these are faithful and admirable
representations of nature, and are deservedly held
in the highest estimation. They approach to. the
productions of Albert Cuyp, and it may fairly be
presumed that if Isack had lived longer, he would
have reached a still higher rank than he now enjoys
in the Dutch school. A large proportion of his
best pictures are in England, where he was appre-
ciated long before he met with much recognition
abroad.
Museum.
A Village Inn. isack van
OSTADE.
M
))
The Merry Peasant.
»
)j
A Way-side Inn.
Antwerp.
Museum.
Winter Landscape, isaok van
OSTADE, 1645.
Berlin.
Museum.
A Halt before an Inn. i. van
OSTADE.
Osteadorfer
PAINTERS AND ENGRAVERS.
Ottevaere
Berlin.
Museum.
Brussels.
Museum.
Copenjiagen. Gallery.
Dresden. Gallert/.
Glasgow. Galla-y.
Loudon, Nat. Gallery.
„ Ashburton Coll.
„ Bridgewater House.
„ Buckingham Pal.
„ Dudley House.
„ Lansdovme House.
„ Northbrook Coll.
Madrid. Gallery.
Munich. Pinakothek.
Louvre.
Interior of a Dutch Peasant's
Cottage. isACK van ostade.
A Peasant in a Flap-hat. isack
VAN OSTADE.
Travellers Halting. i. van
OSTADE, 1660 (sic). [This
date must be a forgery , for the
painter was dead in 1660.]
Woman 'Wiading Thread.
OSTADE. p.
Winter Landsoape,with Figures.
ISACE OSTADE.
Winter Landsoape,with Figures.
ISACK VAN OSTADE.
Peasants Drinking and Dancing.
I. VAN OSTADE.
A Fish Auction.
Village Scene; a capital ex-
ample. (Engraved by Dunker.)
Frost Scene, isaac van os-
tade.
A Frozen River, i. v. ostadb.
{A masterpiece.)
Travellers and Villagers before
an Inn.
A Village Street.
Boors Making Merry, isace
VAN OSTADE, 1646.
A Village Street, isack van
OSTADE, 1643.
Selling Fish, isack van os-
tade, 1649.
The Frozen Canal, isack van
OSTADE.
Winter Landscape.
Peasants.
A Rocky Landscape, with a
Donkey and his Driver.
ISACK VAN OSTADE.
Feasants Drinking, isack van
OSTADE.
Travellers halting at an Inn.
ISACK -VAN OSTADE.
The Halt. (Engraved in
Filhol.)
A Frozen Canal in Hollaed
(Ko. 378). ISACK OSTADE.
{Engraved in Landon and
Filhol.)
A Frozen Canal in Holland
(No. 379). ISACK VAN OSTADE.
A Winter Landscape, with
Figures. (Signed.)
A Landscape — Travellers stop-
ping before an Inn. (Signed^
A Frozen Lake in Holland.
A Village Scene. i. tan
OSTADE, 16 — .
A Peasant having a Tooth
extracted.
OSTENDOEFER, Hans, probably the son of
Martin Ostendorfer, prepared a Tilt-book for Duke
William IV. of Bavaria, in conjunction with the
maitre d'armes, Hans Schenk. It is now in the
Eoyal Library at Munich.
OSTENDORFER, Martin, was court painter to
the Duke William IV., in the first half of the 16th
century ; he belonged to the school of Landshut.
He painted the portraits of his master and his wife,
Maria Jacobaa. Two pictures of his are in the
Moritz Chapel at Nuremberg, viz. :
The Martyrdom of St. Andrew.
The Martyrdom of St. Bartholomew.
OSTENDORFER, Michael, painter, sculptor, and
wood engraver, flourished in the first half of the
16th century, and formed himself mainly upon A.
Altdorfer. He worked in Eatisbon from 1519 to
1559, and died there in the latter year. Among
his pictures we may specify :
Paris.
Petersburg. Hermitage.
jj »
Rotterdam. Museum.
Vienna. Belvedere.
Munich. Gallery. A Scene from the Apocalypse
(signed M. O. in a mono-
gram).
Regensburg. An Altar-piece with wings.
7, A Portrait.
Schleissheim. Gallery. A Christ on the Cross.
In the Munich Gallery there is also a small
' Hilly Landscape,' which was formerly in the
Wallerstein collection, and is now ascribed to Alt-
dorfer, but is much more probably the work of
Ostendorfer. He engraved on wood a genealogical
tree of the Turkish Sultans, with their busts.
OSTEEWALD, Geoeg, painter and etcher, was
born at Einteln in Weserthal, in 1803. He was
trained under Gartner in Munich. From 1830 to
1832 he studied in Paris. He painted history, genre,
landscape, architecture, and portraits. Among his
better works we may name :
The Cathedral of Bamberg.
The Cathedral of Siena.
The Prophecy of Jeremiah (water-colour).
OSTERWIJCK. See Oostbewijc?:.
OTELIN, of Valenciennes, the first painter men-
tioned in the annals of his native city, flourished
in the 15th century, and executed a picture of ' The
Valenciennois setting out to pull down the Houses
of Bruay and Fresnes, April 25th, 1456,' which is
at Valenciennes.
OTT, JoHANN Gborq, was born at Schaffliausen
in 1782, and in 1801, with the assistance of Landolt
and Breitinger, first devoted himself to art, after
having been brought up to business pursuits. In
the following year he went to Vienna, and there
produced some ' Studies of Horses.' He then
travelled in Germany, Holland, and France, and
returned in 1805 to his native place, where he
devoted himself to the painting of battle-pieces,
in which he evinced much acquaintance both
with military matters and with horses. He died
at Zurich in 1808. Among his works we may
mention :
Patrol of Hussars.
A Horse dragging a dead Chasseur.
Brother Nikolaus von der Fliite at the fatal Meeting at
Stanz in 1481 {left incomplete at Ott's death).
OTTAVIANI, Giovanni, an Italian designer
and engraver, was born at Rome about 1735, and
died in 1808. He was a pupil of Wagner at
Venice, and on his return to Rome engraved several
plates after some of the most distinguished masters.
The following are among the best of his works :
St. Jerome with a Crucifix ; after Guercino.
St. Cecilia ; after the same.
Angelica and Medoro ; after the same.
Mars and Venus ; after the same.
Three Women bathing surprised by a young Man ; after
the same.
Diana and Actseon ; after the same.
Twenty-three plates, from the paintings by Raphael, in
the loggie of the Vatican.
Four plates from the pictures by Raphael, in the Far-
nesina, representing
Jupiter and Ganymede.
Juno on her Car.
Neptune on the Ocean.
Pluto and Prosperine.
The Aldobrandini Marriage ; after Smugliewici.
OTTAVIANO DA Faenza. See Fabnza.
OTTENS, Fredeeik and Jan, two little known
engravers, who flourished at Delft early in the
18th century.
OTTEVAERE, Augdste, a native of Everghem,
Flanders, who painted from 1809 to 1856. He
lived chiefly in Paris, but died at Ghent in the
235
Ottini
A BIOGRAPHICAL DICTIONARY OF
Oudry
latter year mentionorl. He was a pupil of E. Ver-
boeckUoven, and painted similar subjects.
OTTINI, Felice, called Filioetto di Brandi,
was one of the best scholars of H. Brandi. In the
churches of Rome there are but a few pictures by
him, for he died young in 1697. He also etched
from his own designs and from the works of
other Italian masters. He signed his etchings
F. 0. F.
OTTINI, Pasquale, (called Pasqualotto,) was
born at Verona about 1570, and died in the same
city, of the plague, in 1630. He was a disciple of
Felice Ricci, whose manner he imitated so happily
that he was employed, after that artist's death, in
conjunction with Turchi, to complete several pic-
tures which Ricci had left unfinished. A study of
the works of Raphael added much to the improve-
ment of his talent. A good example of his work-
manship is ' The Slaughter of the Innocents,' in
San Stefano; and he appears to still more advan-
tage at San Giorgio in the picture of St. Nicholas,
with St. Bernard and several fathers of the Church.
A single etching is known by him ; it is an ' En-
tombment,' and is signed Fasq'. Otti>. Ver'. inv.
OTTLEY, William Youno, an English writer,
and artist, was born near Thatcham (Berks.), in
1771. He was of a good family, and cultivated
art as an amateur. Having studied under Cuitt,
and in the schools of the Academy, he went, in
1791, to Italy, where he remained ten years, study-
ing and collecting works cf art. He is mainly
known as an author, but he illustrated many of
his books himself. In 1833 he was appointed
Keeper ( f the Prints in the British Museum. He
died in London in 1836. His chief works are :
Inquiry into the Origin and Early History of Engrav-
ing.' 1816.
'The Stafford Gallery.' 1818.
' The Italian School of Design ' {with etchings ly him-
self.) 1823.
'A series -of plates after the early Florentine School.'
1826.
' Pac-similes {by himself) of Prints of early Italian,
German, and Flemish Schools.' 1826.
* Fac-similes {by himself) of rare Etchings after Italian,
Flemish, and Dutch' Schools.' 1828.
' Notices of Engravers and their Works.' 1831.
' An Inquiry into the Invention of Printing,' 1863.
In 1823 Ottley exhibited a spirited design at the
Royal Academy, of '■ The Battle of the Angels.'
OTTMER, Kael Theodoe, an architect and
painter, was born at Brunswick in 1800, and
after having attended the Carolinum theie during
1816-19, he in 1822 went to Berlin, seven 3'ears
later to Paris, and thence to Italy, where he first
devoted himself to painting, although through-
out his life he was more engaged in building.
He died at Berlin in 1843. He was a member of
the Architectural Union of Great Britain, and an
honorary member of the Berlin Academy.
OTTO, H. P., an obscure German engraver, said
to have been a native of Berlin. He resided at
Frankfort in 1707, and engraved part of the heads
for a work enti led, ' Notitia Universitatis Franco-
fortianEe,' published in that year. His plates con-
sist chiefly of book ornaments.
OTTO, Johannes Samuel, was born at Unruh-
stadt, in the province of Posen, in 1798. He
visited the Berlin Academy, where he was much
occupied in etching after the architectural drawings
of Schinkel. He also painted several altar-pieces,
a.s well as many portraits ; some of liis portraits of
royal personages he reproduced by lithography.
236
He also worked in facsimile after Holbein's 'Dance
of Death.' In 1844 he was named a Royal Pro-
fessor. Ho was a great friend of Kiss the sculptor.
Otto died in Berlin in 1878. There is a portrait of
Kiss by him in the National Gallery at Berlin. We
iTiay also name :
Portrait of the Opera singer, Lehmann.
„ King Frederick William IV. (engrated iy
Mandel).
OUDEN-AERD. See Auden-Aebd.
OUDEN ALLEN. See Allen.
OUDENDIJK, Adriaen, a landscape painter,
was born at Haarlem about 1648, and instructed
by his father. He painted landscapes and views of
towns, some of which are enriched Avith figures by
Dirck Maas, probably when he was young ; but his
chief skill lay in copying, or rather pillaging, the
works of Adriaen van de Velde and Thomas Wyck,
for which he was surnamed ' Rapianus.' The time
of his death is not known, but he was living in
1696.
OUDENDIJK, Evert, a painter at Haarlem,
who was admitted into the guild in 1640. He
was the father of Adriaen Oudendijck. He painted
landscapes enlivened with stag-hunts and similar
subjects.
OUDENROGGE, Johannes Dircksz, a painter
of whose life few particulars are known, but in
the Museum at Amsterdam there is a picture, ' The
Workshcp of a Weaver,' signed by him, and dated
1652. Oudenrogge visited France in 1651 and
died two years later, in 1663, at Haarlem.
OUDRY, Jacques Charles, animal painter, was
the son of Jean Baptiste Oudry, and the pupil of
his father. He was born in Paris in 1720. He
was received into the Academy in 1748. He
travelled much ; he lived for a time at Brussels,
where he was paintcr-in-chief to Prince Charles of
Lorraine ; and died at Lausanne in 1778.
OUDRY, Jean Baptiste, a French painter and
engraver, born in Paris in 1686. His first art
instruction was received from his father, an artist
who combined the trade of picture-dealing with
painting. He also studied in the old ' maitrise ' of
St. Luke, and undtrde Serre, the king's painter at
Marseilles, whom he accompanied to that city.
On his return to Paris he became a pupil of Lar-
gilliere, under whom he studied five years, and
who bestowed great care on his training, and fully
recognized the peculiar bent of his genius. In
1717 he had already risen to such repute, that
when Peter the Great came to Paris in that year,
he had his portrait painted by Oudry. He was
elected a member of the 'maitrise' in 1708, and
subsequently filled in it the offices of assistant and
professor. Oudry was received into the Academic
des Beaux Arts as an historical painter in 1717,
on his picture of ' Abundance.' For many years
his practice consisted of portraits and votive pic-
tures for churches : in fact, whatever came to him.
Among these works, the most noteworthy were
the 'Nativity' in the church of St. Leu, and the
' Adoration of the Magi ' in St. Martin-des-Champs.
At one time he was disposed to seek better fortunes
in Russia, whither he was invited by the Czar, whose
portrait he had painted. A commission to paint
some hunting-scenes for the Duke d'Antin, however,
turned the scale in favour of his native country,
and induced him to remain in France. But it was
not until he was presented to Louis XV. that he was
enabled to devote himself entirely to the class of
work on which his reputation rests. He became
Oudry
PAINTERS AND ENGRAVERS.
Ouwater
a great favourite with the king, and was assigned
apartments in the Louvre. His brush was in con-
stant requisition to portray the royal dogs and
hunts, as well as any additions to the king's ool-
lei^tion of wild animals. Basking in the sunshine
of court patronage, there was now no lack of com-
missions to paint his favourite subjects. One of
liis chief patrons was Fagon, the finance minister,
for whom he executed many decorative works. By
him he was appointed, in 1734, to the superintend-
ence of the manufactory at Beauvais, and his
success in this undertaking obtained him the like
appointment at the Gobelins. In producing designs
for execution at these establishments, he worked
assiduously, and for some time single-handed, until
he summoned Boucher and Natoire to his aid.
Notwithstanding these labours he found time to
paint a great number of pictures. Moreover, his
appreciation of La Fontaine led him to produce
illustrations for the fine edition of that poet's
fables which was published in 1766. In the same
year he was struck with apoplexy. He i-enioved to
Beauvais, in the hopes of obtaining benefit from
the change ; and there he died on the 30th April,
1765. The following is a list of his better works :
Amiens. Museum. Dog and Game.
Arra,s. „ Fox-hunt.
Besancon. „ Dog guarding Game.
Caen. „ Wild Boar Hunt. 1748.
Cherbourg. „ Eagle and Hare.
Dijon. Frefecture. Fish, Eel, and Ducks.
Lille. Museum. Pug-dog. 1730.
Montpellier. „ Game, Dog, Flowers, and Fruit.
1748.
Nantes. „ Eustic scene.
„ Dog seizing a Duck.
Wolf-hunt. 1748.
,, ,, Spaniel.
Narbonue. „ Bitch and Puppies.
Orleans. „ Poultry.
„ „ Dog and Pheasant.
Paris. Louvre. AVolf-hunt. 1746.
Cock-flfht. 1749.
„ „ Dog and Game. 1747.
„ „ The Farm. 1750.
Three pictures of Dogs of Louis
XV.
Pau. Museum,. Stag-hunt.
Eouen. „ Stag-hunt. 1725.
Stockholm. Nat. Gallery. "VVater-spaniel and Heron.
1725.
„ Tiger at the Menagerie, Ver-
sailles. 1739.
„ ,, Stag-hunt.
„ „ The Lion and the Spider.
„ „ Flowers and Fruit. 1721 .
„ „ Spauiel and Partridge. 1742.
„ „ Six still-life pictures.
Toulouse. Museum. Portrait of himself.
„ „ Louis XV. hunting the Stag.
Tours. „ Bear-hunt.
VersaiUes. y^f„™'' } Plenty.
„ „ The Harvest.
„ „ Vintage.
Some of Oiidry's drawings (if bird.s in black and
white chalk on blue paper are peculiarly fine.
O.J.D.
OUDRY, P., an unknown French pamter, whose
name is appended to a portrait of IMary Queen of
Soots, now in the National Portrait Gallery, and
long in the possession of the Brocas family, at
Beaurepaire, in Hnmpshire.
OURS, J. S. SAINT. See Saint Ouks.
OUTKIN. See Utkin.
OUVILLY. See Gebbier.
OUVRIE, PiERBE Justin, painter and litho-
grapher, was born in Paris in 1806. He was a
pupil of Abel de Pujol and of Chatillon. He visited
Italy, Flanders, and England. His landscapes are
remarkable for the skill with which the buildings
in them are treated. Ouvri^ died in 1879. Among
his best works we may name :
Shelley's Funeral.
The Grand Canal, Venice.
St. Laurence, Nuremberg.
San Pietro, Genoa.
Windsor Castle.
Wurzburg Cathedral. {^Water-Colour)
View of Rouen. (The same.)
Market in Nuremberg. {The same)
Somerset House. {The same.)
OUVRIER, Jean, a French engraver, was born
in Paris in 1725, and died in 1754. We have by
him a variety of vignettes, landscapes, and other
subjects, of which the following are considered
the best :
The Villagers of the Apennines ; after Pierre.
A View in the Alps ; after Veniet.
A View in the Apennines ; after the same.
The Magic Lantern ; after Scheiiau.
The Flemish School ; after Eisen the elder.
The Dutch School ; after the same.
The Genius of Design, an emblematical subject ; after
Cochin.
OUWATER, Albert van, an early Dutch painter
whose life and works are involved in great obscurity,
and, presumably, a native of the town of Ouwater,
or Oudewater. He is the first painter mentioned
by Vau Mander as having been a native of Holland,
and must therefore, in a sense, be called the founder
of the Dutch school. No picture, however, can be
certainly pointed to as his. The old biographers
tell us that he acquired a well-deserved reputation
by his skill in the treatment of landscape, and in
the painting of hands and feet. In the 16th cen-
tury the gallery of Cardinal Grimani possessed a
few landscapes which were said to be his, but they
have disappeared. They are mentioned by Mo-
relli's ' Anonimo ' as the work of ' Alberto d'Olanda.'
Van Mander ascribes to Albert an altar-piece in
the great church of Haarlem, representing St. Peter
and St. Paul, life-size, and, on a predella, pilgrims
on the way to Rome in a finely painted landscape.
A ' Descent from the Cross,' in the Cologne Mu-
seum, which has also been ascribed to Ouwater, is
of a totally different character. It bears, too, the
year 1480, which may well be later than Ouwatei-'s
true date. Of that, however, we know nothing
positive, as Van Mander tells us the year nelthiT
of his birth nor his death. A ' Descent from the
Cross,' at Vienna, which Passavant gives to Ouwater,
is in a different manner again. Perhaps Ouwati/r's
true style is to be traced in such works as the
' Adoration of the Kings,' which is No. 1079 in the
National Gallery. On this panel the word Ouwater
has been written, probably with the butt-end of a
brush, while the paint was still wet, so that the
reddish under-painting shows through the letters.
This seems at least to connect the picture in some
way with the town of Ouwater. Supposing it to
be Albert's work it would make him the fountain-
head from which the styles of Gheerardt David
and Patinir were derived, and would give him
much affinity with Dirck Bouts. W. A.
OUWATER, Gheekardt van. See David.
OUWATER, IsAAK, an artist, born in 1747, iit
Amsterdam. He painted there, at Utrecht, and at
Haarlem. His subjects were views of or in towns,
into which he introduced figures and animals. He
I died at Amsterdam in 1793. Six pictures by him
"237
Ouwater
A BIOGRAPHICAL DICTIONARY OF
Overbeck
were sold, in 1814, at the sale of J. C. van Hall ;
and there are in the Museum at Amsterdam, two
views of that city by him.
OUWATER, Jakob, was a Dutch painter of
fruit, flowers, insects, birds, &c., of whom little is
known. He lived long, however, at the Hague,
where he was inscribed, in 1754, on the registers of
the ' Pictura ' brotherhood. He afterwards worked
for a time at Middelburg.
OUWERKERK, Jan Van, an unimportant Dutch
painter, was established at Middelburg in 1774,
where he painted marine views. He was a pupil
of Marinus Piepers.
OVENS, Jueiabn, a Dutch painter and etcher,
was born at Amsterdam in 1623. He has been
supposed to have been brought up in the school
of Rembrandt. Whether this be correct or not,
he certainly excelled in painting night-pieces and
subjects by torch-light ; he was also eminent as
a portrait painter. There are some of his works
in the Stadt-house at Amsterdam, representing sub-
jects from Dutch history. In 1675 he was invited
to Friedriohstadt, to the court of the Duke of
Holstein, in whose service he remained till his
death, which occurred on the 7th December, 1678.
There has been some confusion as to the dates of
Juriaen Ovens, in consequence of a mistaken
assertion, supported by Nagler, that on a portrait
of himself, painted by him in 1666, the words
anno cetatis 66, were to be read. Pictures of
his are to be found as under :
Amsterdam. Town Hall. The Conspiracy of Claudius
Civilis.
„ Huisittenliuis. Portrait.
„ R. Museum. Portrait of Mr. Jan Barend
Schaep.
„ „ Portrait group of seven regents,
half life size.
Copenhagen. Museum. The Concert.
„ „ Portrait.
Nantes. Museum. The Departure of Tobit. 1651.
Vienna. Count Harrach's. Girl with a Fowl.
„ „ Girl with a Bunch of Grapes.
Among his etchings there are :
The Whale. 1659.
Inauguration of Kiel University. 1666.
Portrait of Chancellor Kielmann.
OVERBECK, BoNAVENTDEA van, called ' Romu-
lus,' a painter, engraver, and author; was bom
in 1660 at Amsterdam. He was probably a pupil
of Gerard Lairesse, and went three times to Rome,
many of the antiquities of which city he drew and
engraved. He painted there also a picture for the
Bentvogel Society, which was engraved by Van
Pool. Schenk engraved his 'Mars and Apollo,'
and C. Vermeulen his portrait by C. le Blon. He
died in 1706. After his death, his work, ' Reliqui»
antiqusB urbis Romse,' was published in 1708, and
remarks upon it, by P. Rolli, in 1739.
OVERBECK, JoHANN Friedbich, the leader of
the modern religious movement in German art,
was born at Lubeck on the 4th of July, 1789. His
ancestors for three generations were Protestant
ministers ; his father was doctor of laws, a poet,
and Burgomaster of his native city. After a
general education conducted mostly at home, Over-
beck was sent, in 1806, to prosecute his art studies
at Vienna, in the Academy. The method there in
force _ soon awakened strong opposition in his
peculiar temperament, which led to his expulsion
with several of his sympathizers. In 1810 he went
to Rome, where, with his friend Cornelius, he
founded the school of German pre-Raphaelites ; the
238
home of the brotherhood being the disused monas-
tery of Sant' Isidore, on the Pincian. The first
important commission Overbeck received was one
from Queen Caroline of Bavaria for an ' Adoration
of the Kings.' This was in 1811 : two years later
he deserted the faith of his fathers, and was re-
ceived into the Roman Church. This change,
which can hardly have failed to distress the parents
at home, must no doubt be taken as the explanation
of Overlseck's deliberate avoidance of his native
place on his several visits to Germany. After his
parting with them in 1806, he never again saw his
mother and father, although they did not die until
1820 and 1821 respectively. In 1819, an exhibition
of German pictures, painted in Rome, was held in
the Palazzo Cafarelli, and the chief interest centred
in the works of Overbeck, Cornelius, Veit, and
Schadow. One of Overbeck's contributions was a
' Madonna ' which showed an almost slavish defer-
ence to Raphael. The other was a 'Flight into
Egypt,' in which little of his own ascetic bent
could be perceived. In 1819 Overbeck married a
lady, a native of Vienna, whose Christian name
was Nina, and who, we are told, had no right to a
surname, for she was the illegitimate daughter of
a Viennese noble, from whom she received a
dowry. By her he had two children, a girl who
died young, and a boy, Alfons Maria, who only
lived long enough to give promise of considerable
powers. In 1831 Overbeck paid a visit to Germany.
In 1833 he was present at the opening of Raphael's
tomb in the Pantheon. In 1840 occurred the death
of his son, which was followed thirteen years later
by that of his wife. In 1855 he visited Germany
for the last time. Two years later he was honoured
by a visit in his studio from Pius IX., on the 7th
of February, and on the 12th November, 1869, he
died at the age of eighty. The following list
includes most of his important works :
Assisi.
d^AngdC \^^^^°^ °* ^*- Francis. {Fresco)
Carlsruhe. Gallery. The Christian Parnassus. {Car-
toon.)
Cologne. Cathedral. Assumption of the Madonna.
Basle. Museum. The Finding of Moses. (Cartoon.)
n „ Israelites gathering Manna. {The
same.)
„ „ Translation of Elijah. {The same.)
.. -, Death of St. Joseph. {The same.)
Berlin. JFat. Gallery. The Seven Sacraments. Seven
pictures.
» „ Portrait of an old Monk.
>• 1, Jerusalem delivered.
„ Raczynski Coll. Marriage of the Virgin.
» „ A Sibyl.
Biebrieh. Villa Ger- ),-,,.. , ,
Dusseldorf. Academy. Raising of Lazarus.
Frankfort. Slddel Gal. Joseph sold by his Brethren.
Hamburg. Great ) mi, » ■ iv ,-, j
Hospital. f^^-^Sor>.ym the G^deu.
Heidelberg. «|;.^^-|^,^^^^^_^_
„ „ Portrait of Cornelius.
^" ™' H^P^o'it ] iDoredulity of St. Thomas.
Lubeck. Town Library. Meeting of Ulysses and Tele-
machus.
„ „ A Pieta.
„ Marien Kirche. Christ entering Jerusalem.
Munich. New Pina- ) tt i -c -i -ii. oi x i.
cothek. J ■^° y Family, with St. John.
„ „ Italia and Germania, as two
female figures in a landscape.
„ „ Con6rmation.
!, „ Portrait of Vittoria Caldoni.
Borne. Cara Bartholdi. History of Joseph. (Frescoes.)
Overbeck
PAINTERS AND ENGRAVERS.
Ozaune
Rome. Villa Massimo. Jerasalem delivered. {Frescoes.)
■Weihem (near Zot:- 1 ' Oyclus ' from the Gospels.
Munich), leek Coll. j (Forty Cartoons.)
OVERBECK, (or Ovekbebck,) Leendert, a
Dutch landscape painter and engraver, born at
Haarlem in 1750. He was a pupil of H. Meyer,
and at first designed tapestry and ornaments, but
afterwards turned his attention to drawing and
etching, in which latter he became very skilful.
In the year 1775 he was Moderator in the Academy
at Haarlem, and gave the following year a dis-
course which was printed. He worked in Amster-
dam and at Weesp, and died at Haarlem in 1815.
He engraved a number of Dutch landscapes with
figures, among which are views in the neighbour-
hood of Haarlem, dated 1791-93, and two of Leyden,
dated 1807.
OVERLABT, Anton, a designer and etcher,
who lived at Antwerp in the latter half of the 18th
century, and had at first been a journeyman baker.
He was admired for his pen-and-ink drawings
from portraits, historical pictures, landscapes, and
genre scenes. Among his copies we may name :
Beggar and his "Wife ; after Rembrandt. 1760.
Dutch Village, with Castle and Canal ; after the same.
1761.
Two drawings of Male and Female Feasants; in A.
Ostade's majmer.
OWEN, The Rev. Edward Pryce, an English
etcher and painter, born in 1788. He graduated
at Oxford, took orders in the Church of England,
and cultivated art as an amateur. He published
some etchings of ancient buildings in Shrewsbury,
1820-21, and another volume of etchings in 1826.
He died at Cheltenliam in 1863.
OWEN, Samuel, marine painter in water-colours,
was born in 1768. His subjects were generally
siiipping, which he executed in a correct and
skilful manner. He exhibited for the first time at
the Royal Academy in 1794, and again in 1797,
when his subject was the ' IBritish and Spanish
Fleets, commanded by Sir John Jarvis.' He was a
member of the 'Associated Artists in Water-
Colours,' a defunct society, which was founded in
1808. For several years before his death (which
occurred at Sunbury in 1857) he had given up
painting. He made the eighty-three drawings
illustrating Bernard Cooke's ' The Thames.'
OWEN, William, an eminent painter of por-
traits and fancy subjects, was born at Ludlow in
1769, and was educated at the grammar-school of
that town. It is not known that he received any
instruction in painting until he reached his seven-
teenth year, although he had as a boy exhibited a
strong inclination for art. About 1786 he was sent
to London and placed nnder Catton, who had been
a coach-painter, but was then a Royal Academi-
cian ; and soon afterwards a copy Owen made of
Reynolds's picture of Perdita, introduced him to
the notice of the President and to the benefit of his
instruction. In the year 1792 he made his first
appearance as an exhibitor at Somerset House,
with the ' Portrait of a Gentleman,' and a view of
Ludford Bridge, Ludlow ; each succeeding year
his practice as a portrait painter increased, till in
the year 1798 he exhibited no less than ten. This
may be considered good evidence of his artistic
skill, for he had no advantage of patronage like
Reynolds, Beechey, Lawrence, and Hoppner, who
divided the world of fashion between them. And
among those who sat to him were some of the most
distinguished men of the day ; such as William
Pitt, Lord Grenville, Sir William Scott, Cyril
Jackson, Vicary Gibbs, Chief Justice Abbot, the
Marquis of Stafford, the Earl of Bridgewater, John
Soane the architect. Viscount Exmouth, and many
others. The ' Blind Beggar's Daughter of Bethnal
Green,' ' The -Sleeping Girl,' 'The Schoolmistress,'
'The Girl at the Spring,' 'The Road-side,' 'The
Cottage Door,' ' The Children in the Wood,' are
among his subject pictures. In 1804 he became
an Associate, and in 1806 a full member of the
Royal Academy ; in 1810 he was appointed por-
trait painter to the Prince of Wales. The Prince
Regent offered to knight him, an honour which he
refused. For the last five years of his life he was
in a state of almost utter helplessness, but his
sufferings were at last put an end to in 1825 by
the mistake of a chemist's boy, who sent him a
bottle of opium instead of a harmless draught.
Owen died on the 11th of February, 1825. Besides
the pictures already named the following may be
noted :
London. Boy. Academy. ( Boy and Kitteil.
(Diploma Gall.) \ Cottage Children.
„ Jfat. Fort. Gall. John Wilson Crocker.
„ „ Lord Loughborough.
„ „ (?) John Philpot Ourran.
OZANNE, Jeanne Franqoisb, and Marie
Jeanne, were the sisters of Nicolas Ozanne, and
were instructed in engraving by Aliamet. We
have by them several prints of sea-ports, &c.,
among which are the following :
A View of the Port of Dieppe ; J. F. Ozanne ; after
Hackert.
A View of St. Vallery ; the same.
Two Views of the Fort of Leghorn; M. J. Ozanne;
after Vemet.
A Calm ; the sam-e ; after the sam£.
Two Pastoral subjects ; after Phil. Wouwerman ; M. J.
Ozanne.
OZANNE, Nicolas, a French engraver, was born *
in Paris about the year 1724. He engraved from
his own drawings a number of plates of marines
and sea-ports, which are esteemed for their neat-
ness. We have, among others, the following by
him :
A set of four Landscapes and Marines ; Ozanne fee.
Two Views of the Fort of Brest.
OZANNE, Pierre, designer and engraver, was
born in Paris in 1725, who produced four sets of
etchings of shipping. He was probably a brother
of Nicholas.
239
Paape
A bioctRAphical dictionary of
Pacini
PAAPE. See De Pape.
PAAR, Wenzel, Count von, executed some
drawings and etcliings. His son LODIS, born at
Vienna in 1772, and died in 1819, also painted
several landscapes.
PAAS, Cornelius, a German engraver, born in
1740. He settled in London about 1765, and
became engraver to George III. He died in London
in 1806.
PABLO, Pedro, was a Catalonian, who in 15G3,
in conjunction with Pedro Serafin, a Greek, painted
the doors of the great organ in Tarragona cathe-
dral. The artists received three hundred Catalonian
pounds for this performance, and were employed in
various works by the chapter.
PABST, Paul, a Dutch gentleman, who was
Burgomaster of Rochlit, Leipsic, in 1490, and
built the church of St. Peter there. He decorated
its interior with pictures, and was still living in
1524. He was also called Pabst van Ohorn, or
Oham.
PACCHIA. See Del Pacchia.
PACCHIAROTTO, jAcoro (or Giacomo), was
born at Siena in 1464, and resided there until 1 535,
when, joining a conspiracy of the people against
the government, he was obliged to leave the
country ; he took refuge in Prance, where he
became acquainted with II Rosso ; and it is said
that he executed paintings for Francis I. at Fon-
tainebleau. He appears to have returned to Siena
in 1536 ; but three years afterwards he was again
in trouble with the government, when he was out-
lawed. By the intercession of his wife Girolama,
however, he was pardoned, and in 1640 restored
to his family. No record has been found of him
after this date. Owing to the fact that Pacchiarotto
is not mentioned by Vasari, great confusion has
arisen regarding him. Many of his works have
been attributed to Perugino.but, onthe other hand,
many pictures by Girolamo del Pacchia have been
■ ascribed to Pacchiarotto. The fresco in Santa
Caterina at Siena, representing ' The Visit of St.
Catharine to the body of St. Agnes at Montepul-
ciano,' long attributed to Pacchiarotto, has now
been proved to be by Del Pacchia. Among other
pictures by the latter which have been attributed
to the former, may be mentioned a ' Madonna and
Child,' in the National Gallery. Two pictures in
the Pinakothek at Munich — a ' St. Francis of Assisi,'
and a ' Madonna and Child ' — both formerly in San
Bernardino at Siena, are attributed to Pacchiarotto,
as are also several works in the Academy of Siena.
Speth, in speaking of this artist, terms him "the
second hero of the Sienese school " — Bazzi being
the fli'st — and says that to designate him as of the
school of Perugino, is only to magnify the injustice
he has already undergone in having many of his
best works attributed to that master ; adding,
" what Perugino supplied was only the spark which
in Pacchiarotto grew into a flame." But Speth
himself evidently attributed works by Del Piicchia
1o the latter, for he ])r;uses as Pacchiarotto's the
above-mentioned ' Visit of St. Catharine.'
240
PACE DA Paenza, painter, flourished at that town
in the 14th century. His works were of a grotesque
character.
PACE, DoMENico Di. See Beccafdml
PACE, Michelangelo, called Di Campidoglio, a
painter of fruit and flowers, was born at Rome in
1610. He WHS a scholar of Pioravanti, and was
called ' Di Campidoglio ' from an office he held in
the Campidoglio, or Capitol, at Rome. There
was a fine picture by him in the collection of the
Duke of Marlborough at Blenheim, and many others
are to be found in England. He died in 1670.
PACECCO. See Rosa, Francisco di.
PACBLLI, Matted, a native of the Basilicata,
and a pupil of Luca Giordano, whom he followed
into Spain. He died in 1731.
PACHECO, Cristobal, a Spanish portrait and
history painter, who flourished about 1568. He
was a protege of the Duke of Alva, for whom he
painted many pictures, including several portraits.
PACHECO, Francisco, a painter, was born at
Seville in 1571. He was a pupil of Luis Fernandez,
and his first recorded works were the Standards of
the Fleets which sailed in 1694. In 1698 he exe-
cuted the paintings for the Monument erected for
the funeral honours of Philip II. In 1600 he
painted for the Convent of Mercy some scenes from
the life of St. Raymond, and in 1603 the fable of
' Daedalus and Icarus ' for the Duke of Alcala. In
1611 he visited Madrid, and on his return to Seville
established a school of painting in his ovim house.
In 1612 he painted for the nuns of St. Isabel his
greatest work, the ' Last Judgment.' In 1618 he
was appointed inspector of pictures. In 1620 lie
painted ' The Baptism of our Lord,' and ' His
Banquet served by Angels in the Desert,' for the
high altar of the college of St. Hermengild. In
1623 he visited Madrid with his son-in-law Velas-
quez, where he I'esided till 1625. On his return he
devoted himself chiefly to the pen, and wrote the
' Treatise of Painting,' which was published iu
1649. He died at Seville in 1654. The Madrid
Museo possesses the following examples of his
work :
St. Ines.
St. Catalina.
St. John the Evangelist.
St. John the Baptist.
PACHELBLIN, Amalia, a German flower-
painter, wlio was working at Nuremberg between
1686 and 1723. The details of her life are un-
known.
PACIIER, Michael, a painter who flourished in
the latter part of the 15th century. He was a
native of Bruneck in the Tyrol, and his chief work
is an altar-piece at Wolfgang in Salzkame gut,
dated 1481.
PACHMANN. See BAniiMANN.
PACICCO. See Rosa, Prancisco di.
PACINI, BiAoio DI Francesco, a Florentine
painter, who was living in 1525, iieeording to the
Ruolo de' Pittori. Signer Milanesi suggests that
Pacini
PAINTERS AND ENGRAVERS.
Faelinck
he was identical with the Biagio, a pupil of Sandro
Botticelli, of whom Vasari tells an absurd story in
connection with the sale of a picture by him to a
citizen.
PACINI, Santi, an obscure Florentine, who lived
towards the end of the eighteenth century. He
made the copy which took the place of Andrea del
Sarto's ' Deposition ' in the convent of S. Pietro in
Mugello, when the original picture was removed
to the Pitti Palace.
PACK, Christopher, an English portrait painter,
born at Norwich, in 1750. Brought up to trade, he
suffered some losses, and then devoted himself to
art. He came to London, and was introdoced to
Sir J. Eeynolds, whose pictures he copied. Sub-
sequently he practised as a portrait painter at
Norwich, Liverpool, Dublin, and London, where
he is last heard of in 1796.
PACOT, was a native of France, and flourished
about the year 1690. He engraved some plates of
battles and sea-fights, which are etched and finished
with the graver.
PACDVIUS, the Roman tragic poet, practised
painting by way of amusement in bis old age, and
executed some mucb-admired works in the Temple
of Hercules, about 150 B.o. After his time, Pliny
tells us, no worthy painter arose among the
Romans. The art, in fact, fell into disrepute, and
scarcely any but slaves and foreigners were found
to practise it at all.
PADER, HiLAiRE, painter and engraver, flour-
ished at Toulouse in the middle of the 17th century.
He was a pupil of Chalette, and painted several
views of Toulouse.
PADERNA, Giovanni, was born at Bologna
about the year 1600, and was a scholar of Girolamo
Curti (Dentone), under whom he became an emi-
nent painter of perspectives and architecture. After
the death of Dentone he was much employed, and
his success was such as to excite the jealousy of
Agostino Mitelli, one of the ablest artists in that
branch. Of his numerous works at Bologna, the
decorations of the Capella Zagoni, in the church of
La Madonna della Liberta, are considered among
his best performances. He died, according to some,
in 1640 ; butZani says he was living in 1647.
PADERNA, Paolo Antonio, was born at Bologna
in 1649, and for some time studied under Guercino.
On the death of that master he entered the school
of Carlo Cignani. Although he acquired some
celebrity as an historical painter, he was more
distinguished for his landscapes, which are in the
gtyle of his first instructor. He died in 1708.
PADERNI, Camillo, a Neapolitan painter, who
flourished in the 18th century. He came to Eng-
land, where he made several drawings from old
pictures. He died about 1770.
PADOVA, GiROLAMu DA. See Soedo.
PADOVA, GinsTO da. See MENAsnoi.
PADOVANINO, Francesco, was bom at Padua
in 1561. It is not known by whom he was in-
structed in the art, but he painted history with
some success. One of the most esteemed of his
works is a picture representing a Saint interceding
for two criminals condemned to death, in the
church of La Madonna del Carmine, at Venice.
He also was much employed in painting portraits.
He died in 1617.
PADOVANINO, II (Alessandeo). See Vaeo-
TARI.
PADOVANINO, II (Ottavio, son of Ludovico).
See Leoni.
VOL. II. a
PADOVANINO, Ottavio, the son of Francesco
Padovanino, was born at Padua about the year
1582. After studying some time under his father,
he was sent to Rome for improvement. He ac-
quired some celebrity as an historical painter, but
was chiefly engaged in portrait painting, in whicli
he was more successful. He died in 1634.
PADOVANO, Gaspaeo. See Ostbllo.
PADOVANO, Girolamo, See Sordo.
PADOVANO, Lauro. In the ' Venezia Descritta,'
by Sansovino, this painter is said to have been a
native of Padua, and a scholar of Francesco Squar-
cione. He was a successful imitator of the style
of Andrea Mantegna, and painted for the church
of La Caritk at Venice some subjects from the life
of St. John, which rank among the most creditable
productions of the time. He is stated by the above
author to have flourished about the year 1420. It
is expected, however, that he is one with Lauro,
or Laura da Padova, who lived to a much later
period : Zani says he was at work from 1470 to
1500.
PADRO Y PEDRET, TomAs, designer and painter,
was born at Barcelona in 1840, and died there in
1877. He was a pupil of the school of art in that
city,and of the Academy of San Fernando, studying
under Madrazo and Riviera, and being specially
distinguished for his caricatures.
PADTBRUGGE, H. L., was a native of Stock-
holm, and flourished about the year 1700. He
engraved the greater part of the plates for a work
entitled ' Suecia Antiqua et Hodierna,' published
in three vols, folio ; the first in 1693, the last in
1714. It contains about three hundred and fifty
plates, consisting of bird's eye views and maps.
PAELINCK, Joseph, an historical painter, was
born at Oostacker, near Ghent, in 1781. He com-
menced his artistic studies under Verhaegen, the
professor of painting at the Academy of Ghent ;
after this he went to Paris, and enrolled himself
among the scholars of David. In 1804 he obtained
a prize offered by the Academy at Ghent, with his
picture of ' The Judgment of Paris,' and was also
named Professor of Design to the Academy. He
shortly after vacated this appointment, and went
to Italy in order to study the works of the great
masters. Here he corrected much of the academic
manner which he had imbibed in the school of
David, and produced what is considered bis best
picture, 'The Finding of the Cross,' which is now
in the church of St. Michel at Ghent. He remained
at Rome for about five years, and during that time
he painted a large picture for the palace of the
Pope at Monte-Cavallo, representing the embellish-
ments of Rome by Augustus. In 1815 he became
court painter to the queen, and a member of tlie
Netherlands Institute. In 1820 he obtained the
great prize at Ghent for his ' Anthia.' Finally he
became professor at the Academy of Brussels. He
died in that city in 1839. His principal pictures,
in addition to the above, are :
The Adoration of the Shepherds. (^Convent of La
Trofpe, near Antwerp^
The Flight into Egypt. (At Malines.)
The Departure of Tobit. {Ophraekel, near Oudenarde^)
The Return of Tobit. (For Maria Oudenhove.)
The Assumption of the Virgin. (For Muysen, near
Malines,)
The Disciples at Bmmaus. (Church at Everghem, near
Ghent.)
Calvary. ( Village of Oostacker.)
The Toilette of Psyche. (Hague Museum.)
The Dance of the Muses.
241
Paesi
A BIOGRAPHICAL DICTIONARY OF
Paiot
The Judgment of Midas.
The Abdication of Charles V.
PAESI, II Giovane de. See Muziano.
PAKST, HENRy, a portrait painter and copyist,
■who practised in England in the latter half of the
17th century. He worked under Henry Stone and
Francis Barlow. There was a copy by him of
Luca Giordano's ' Cyclops ' at St. James's Palace.
He died in 1697.
PAGANELLI, Nkjcolo, a painter of Faenza
born in 1638. He worked chiefly at Rome, but
executed a famous picture of ' St. Martin ' for the
cathedral of Faenza, which has been ascribed to
Liica Longhi. He died in 1620. Paganelli signed
his pictures N + P.
PAGANI, Francesco, was born, according to
Baldinucci, at Florence in 1531. Afterlearning the
first rudiments of art in his native city he went to
Rome, where he studied the works of Polidoro da
Caravaggio and Maturino. He returned to Florence
at the age of twenty-one, where he soon produced
some worlts which procured him a reputation. He
was considered one of the most promising artists
of his time, but died young at Castelfiorentino in
1561.
PAGANI, Grbgorio, the son of Francesco
Pagan), was born in 1568. Hie father dying when
he was an infant, he was placed as a disciple of
Santo di Titi, and afterwards improved his style by
the instruction of Lodovioo Cardi, called Cigoli.
In imitation of the style of that master, he painted
a picture of ' The Finding of the Cross,' for the
church of the Carmelites, of which a print by
Cecchi is the only record. The church was de-
stroyed by fire. Some of his fresco works remain
in the cloister of Santa Maria Novella, Florence,
including a ' Nativity.' His own portrait by him-
self is in the liiccardi Gallery of the same city,
and in the Uffizi there is a 'Family of Tobit' by
him. Baldinucci dates his death in 1605.
PAGANI, Paolo, was bom at Valsolda, in the
Milanese state, in 1661. He formed his manner
by studying, at Venice, the works of the best
masters, and, according to Zanetti, established
there an academy, where he introduced a style of
designing the nude, which, though occasionally
surcharged and extravagant, is bold and eifective.
After a residence of some years at Venice, where
he painted several pictures for the churches, he
returned to Milan, and was much employed for the
public edifices and for private collections. One of
his best works is in the Dresden Gallery. He died
in 1716.
PAGANINI, G^GLiELMO Capodobo, was born,
according to Orlandi, at Mantua in 1670, and was
a scholar of Antonio Calza. His genius led him to
paint battles and encampments, but having seen
some of the pictures of Borgognone at Florence,
he attached himself to the study and imitation
of that artist's works. No particulars as to his
individual works appear to be recorded.
PAGGI, Giovanni Battista, (or Pagi,) was
born at Genoa in 1554 or 1556. He was first a
scholar of Luca Cambiaso, and improved himself
in design by studying antique statues and bas-
reliefs. He had acquired some reputation as a
painter of history, when he unhappily killed an
antagonist in a quarrel, which obliged him to
leave Genoa, and he took refuge at Florence, where
he resided twenty years, and was employed by
Francesco and Ferdinando de' Medici. Florence
was at that time the residence of several artists of
242
distinction, who, with Lodovioo Cardi, contributed
to lift the Florentine school out of the languid
state into which it had fallen, by introducing the
more vigorous and effective style which was at
that period established in Lombardy. His first
productions were rather distinguished by grace
than energy, as his ' Holy Family ' in the church
Degli Angeli, at Florence, proves. He after-
wards adopted a manner more robust and mascu-
line ; and his large work of the ' Transfiguration,'
in the church of San Marco, is painted with such
vigour and effect, that it does ncit appear to be by
the same hand. Another of his earlier works is
his ' St. Catherine of Siena,' in Santa Maria Novella
of the same city. Lanzi mentions as his finest
works, three subjects from the Passion of our
Saviour, at the Certosa at Pavia. In 1600 he was
invited to return to Genoa, where he was much
employed for the public edifices and private collec-
tions. His best performances at Genoa are two
pictures in the church of St. Bartolommeo, and
'The Murder of the Innocents,' in the Palazzo
Doria, painted in 1606, in competition with Rubens.
He died in 1627. He was also a sculptor, architect,
and writer on art.
PAGHOLO. See Baktolommbo di Pagholo.
PAGLIA, Antonio, a native of Brescia, born in
1680, was a son and pupil of Francesco Paglia.
He died in 1747. His brother Angelo was born
in 1681, and died in 1763. Antonio was in the
habit of painting from groups of little clay figures
modelled by himself, by which means he obtained
a piquant chiaroscuro. In colour he was akin to
the second-rate Venetians.
PAGLIA, Francesco, was born at Brescia in
1636, and was brought up in the school of Guer-
cino. He painted some pictures for the public
edifices at Brescia, of which the most distinguished
is an altar-piece, in the church of La Carita.
His best productions are his portraits. According
to Zani he died in 1713.
PAGLIARI, Giovanni Battista, a painter of
Cremona, was born in 1641. He died in 1717.
PAGNEST, Louis Claude, a French portrait
painter, bom in 1790. His portrait of M. de
Nanteuil, painted in 1817, gained him a good deal
of reputation. He died in 1819.
PAGNI, Benedetto, was a native of Pescia, and
was brought up at Rome in the school of Giulio
Romano. He followed that master to Mantua,
where he distinguished himself as a painter of
history. In the church of Sant' Andrea is an altar-
piece by him of the Martyrdom of St. Lorenzo;
and at the Collegiati, a picture of the Marriage of
Cana. Zani says he was at work from 1525 to
1570.
PAIGEOLINE (or Paigeloine). The name of
this engraver is affixed to a slight etching from
a picture by Paolo Veronese, representing the
' Mother of Moses brought to Pharaoh's Daughter.'
PAILLET, Antoine, a pupil of Bourdon, was
bom in Paris in 1659, and died in 1739. He was
a portrait and historical painter, and professor of
the Royal Academy of Paris. In 1669 he was
rector of that institution.
PAINE, James, a water-colour draughtsman, was
a son of James Paine, the architect. He exhibited at
the Spring Gardens Exhibitions in 1761-64-70, and
was a member of the St. Martin's Lane Academy.
PAIOT, — , was a French engraver of little note,
who appears to have been chiefly employed by the
booksellers. Among others, there is a print by
Pajou
PAINTERS AND ENGRAVERS.
Palliere
him of ' David,' a half-length figure, after Vignon.
He lived about 1627.
PAJOU, AuGUSTE Desib^, was the son of Jacques
Augustin Pajou. He was born in 1800, and studied
under his father and Baron Qros. His best work
is ' Las Casas and his Guides attacked by a Tiger.'
PAJOU, Jacques Adgdstin, historical painter,
was born in Paris in 1766. His father was the
famous sculptor, Augustin Pajou. He was in-
structed in painting by Vincent. At first he painted
portraits, among whicli were those of the Emperor
Napoleon and several of his Marshals. He after-
wards took to historical scenes, among which an
' CEdipus and Polynices,' at Fontainebleau, may be
named.
PALACIOS, Francisco, a Spanish painter, was
born at Madrid about 1640. He entered the school
of Velasquez, and early gave indications of a talent
for portraiture, but the death of his master in 1660
appears to have put a limit to his progress. Jean
Bermudez notices his picture of ' St. Onophrius,'
in the church of the female penitentiary. He died
in 1676.
PALADINI, Abcangela, was born at Pisa in
1599. She was the daughter of Filippo Paladini,
a portrait painter, by whom she was instructed in
the rudiments of the art. Her talents were not
confined to painting, for she excelled in music,
and above all in embroidery. Her portrait, painted
by herself, was placed in the gallery of artists at
Florence. She died in 1622.
PALADINI, LiTTERio. In the 'Memorie de'
Messinesi Pittore,' by Hackert, this painter is said
to have been born at Messina in 1691. He worked
at Rome, in the school of Sebastiano Gonca, but
studied largely from the antique. On his return
to Messina, he was engaged in several considerable
works in fresco, of which the most esteemed is the
ceiling of the church of Monte Vergine. He died
of the plague in 1743.
PALADINO, Filippo, a native of Florence, was
born in 1544. He was a pupil of Allori. He lived
in Rome and Jlilan, but chiefly in Sicily, where
most of his works are to be found. He died at
Mazzarino in 1614.
PALAGI, Pelagic, historical painter, was born
at Bologna in 1775, and was a pupil of Appiani.
In the time of Napoleon he was director of the
Academy at Rome, and later on a professor in that
at Milan, and member of that of San Luca. He
died at Turin in 1860. There are by him :
Columbus before Ferdinand and Isabella. 1829. (>Sy^-
ncrr Faloso's, Genoa.)
Coriolanus before the Gates of Eome.
Gustavus Adolphus ordering the Legislative Assembly
to swear fealty to his Daughter.
A Sibyl.
PALAIS. See Pelais.
PALAMEDES. See Stievens.
PALAVICINI, GiAcoMO, called II Giannolo,
was born at Caspen in the Veltlin, in 1640. Altar-
pieces by this artist are found at Cremona, Verona,
and Milan. He also painted a few portraits. He
died in 1729.
PALCKO, Feanz Kael, son of Anton Palcko
(who died at Presburg in 1754), was born at
Breslau in 1724. Be was first a pupil of his elder
brother, Franz Anton, at Presburg, and then at-
tended the Vienna Academy and travelled in Italy.
In 1752 he became court painter at Dresden, and
in 1764 at Munich. He died in 1767, apparently
at Prague. Among his paintings are :
R 2
Judith and Holoferues.
Deliverance of Captives. (Trinitarians, Presburg.)
St. John. (Dresden Court Chapel.)
Two etchings by him are known :
Christ and the Samaritan Woman.
Adam and Eve hiding themselves in Fear.
His brother, Franz Anton Paloko, was a pupil
of his father, and became court painter to Prince
Esterhazy. He has left altar-pieces in the cathedral
and in the Salvatorskirche, at Vienna.
PALISSY, Bernard, was born about 1510, at La
Chapelle Biron, a village in Perigord. He was
brought up to his father's trade of a glazier, but
having a taste for drawing, design, and decoration,
he turned it to account in painting glass for churches
in the district. At the age of twenty-one he set
out on his travels. He first went into the country
of the Pyrenees, and after settling for a time at
Tarbes, he went through France, Switzerland, and
Southern Germany to Belgium and Flanders. He
returned to France in 1539, and settled atSaintonge
in the south-west, where he married, and pursued
his manifold callings of portrait painting, glass
painting, and land-measuring. While thus en-
gaged he was seized with the desire to produce
enamelled faience, and his ardour in prosecuting
his researches is well known. His fame as a potter
spread, and he soon attracted the notice of the
Duke of Montmorency, Constable of France, who
by using his influence with Catharine de' Medicis,
saved Palissy from being burnt as a Huguenot.
After his release from imprisonment he removed
from Saintonge to the Tuileries at Paris, where he
long continued to carry on the manufacture of his
famous pottery. At the age of seventy-six he was
again arrested as a heretic and imprisoned in the
Bastile, where he died after about a year's imprison-
ment, in the year 1588. His life belongs rather to
the history of an art with which this book is not
supposed to deal, but the fact that he did once
work as a painter prevents our passing his name in
silence.
PALLADINO, Adriano, according to Orlandi,
was born at Cortona in 1610, and was a scholar of
Berrettini (Pietro de Cortona). He painted history
in the style of his master, and executed several
works for the public edifices of his native city.
He died in 1680.
PALLAVICINI, Leo, appears to have resided at
Milan in the early part of the 17th century. He is
said to have published some prints marked with
the initials .£. P.f.
PALLIERE, Armand Jhlien, a painter of Bor-
deaux, was born in 1783. He was a brother of
Louis Palliere, and was also instructed by Vincent.
He painted mythological and historical pictures,
such as ' The Death of Epaminondas,' ' Love,' and
others.
PALLIERE, Louis-Vincent-L^on, a French his-
torical painter, was born at Bordeaux in 1787. He
was a scholar first of his father, who was an en-
graver and draughtsman, and then of Vincent, and
gave early promise of arriving at excellence in the
art. In 1809 he obtained a second prize for his
' Priam kneeling before Achilles,' and in 1812 the
Prix de Rome for his ' Ulysses slaying the Suitors
of Penelope.' At Rome, where he remained five
years, he painted ' Argus slain by Mercury ; '
'Prometheus tormented by the Vulture;' 'The
Flagellation of Christ' (for which Louis XVIII.
awarded him a gold medal: it was painted for
the church of the Trinita de' Monti) ; and ' Jui\o
■ 243
Palma
A BIOGRAPHICAL DICTIONARY OF
Palma
borrowing the Girdle uf Venus.' In 1819 he ex-
hibited at the Musee ' St. Peter curing the Lame
Man ; ' ■ Tobit restoring Sight to his Father '
(now in the Bordeaux Museum) ; ' A Shepherd in
Repose ; ' ' A Nymph coming from the Bath ; '
' Preaching at Home during the Night ; ' and other
subjects. He died in 1820.
PALMA, Jacopo, called Palma Vecchio, to
distinguish him from his grand-nephew, Palma
Giovine, was born at Serinalta about 1480. Very
little is known of his life. His will, which has
been discovered within the last few years, was
made on the 28th July, 1628, and he is known to
have died a few days afterwards, it is said at the •
age of forty-eight. In the collection of the Duo
d'Aumale there is a ' Holy Conversation ' with i
the following inscription, jaohobds palma md.
This inscription Crowe and Cavaloaselle accept,
and partly, at least, upon its evidence base their
belief that Palma shared with Giorgione and Titian
" the honour of modernizing and regenerating
Venetian art." For the picture on which it occurs
is entirely in the free manner of the cinqueoentisls.
Morelli, on the other hand, refuses to accept this
cartellino as genuine, or the theory of Raima's
forceful originality as well founded. He contends
that it was not until much later that Palma became
capable of such work. At present the question
must remain open. The birthplace of Palma is in
the province of Bergamo, and throughout his pic-
tures a Bergamasque feeling can be traced. We
have no authentic information as to his pupilage.
Giovanni Bellini, Cima, and Carpaccio seem to
have been his chief models, and from the whole
drift of his art we must credit him with an import-
ant share in the creation of what is too often called
the Giorgionesque innovation in painting. His
portraits especially are broad, luminous, and in-
tensely human. So far as can be discoveredj the
brush of Palma was never officially employed,
which takes away one important Fource of inform-
ation as to his life. Like other men of his time,
he was often asked for semi-allegorical pictures of
heathen gods and demi-gods. Of these the records
of a ' Ceres,' of a ' Rape of Ganymede,' of a canvas
with Juno, Venus, and Minerva upon it, have
come down to us, as well as one picture, a recum-
bent ' Venus,' now at Dresden. An ' Adam and
Eve,' too, at Brunswick, is a fair example of his
only mediocre skill in the nude. His more import-
ant pictures are enumerated below. Of Raima's
last days more is known than of the rest of his life.
We gather from his will that he was never married,
and that consequently he had no legitimate children.
The famous Violante must have been illegitimate.
In his will he mentions a niece Margarita, and two
nephews besides Antonio, who afterwards became
famous as the father of Palma Giovine. All these
were the children of a brother, Bartolommeo.
Palma died in the odour of sanctity within a few
days after the signing of his will, for on August
8th, 1628, his executors made an inventory of his
goods, which included forty-four unfinished pic-
tures. He was a member of the San Spirito brother-
hood, and was buried in their vaults at San Gregorio,
Venice. WA,
Bergamo. Andreossi Col. A Holy Conversation.
„ Lochis Carrara \ Madonna, with St. John the
Collection.
Blenheim (formerly).
244
j Baptist and the Magdalen.
Madonna, with a female martyr
and soldier saint. {Ascribed
to Giorgione.)
Brunswick. Gallery.
Chantilly.
Dresden.
Gallery.
London. National Gall.
Lady Eastlake.
Milan.
Munich.
Naples.
Paris.
Brera.
),
Gallery.
Museum.
Louvre.
Petersburg. Leuchtem-
berg Gallery.
Home. Palace Boryhese.
„ „ Colonna.
Rovigo. Gall. Commujiale.
Serinalta. Duorrw.
Venice. Academia.
J, Acad. {Contarini
Collection.)
„ Sta, Maria Formosa.
Vicenza.
Vienna.
Zerman.
jS. Stefano.
Belvedere.
Church.
Adam and Eve. {Exhibited in
the Zio Collection at Venice in
1512.)
A Holy Conversation, with
Donor.
Madonna and Child, with St.
John the Baptist and St.
Catharine.
A Holy Conversation.
(?) Madonna ; shepherd adoring.
(No. 4 ; ascribed to Titian.)
Madonna, with kneeling saints.
SS. Helen, Constantine, Sebas-
tian, and Bock.
Adoration of the Magi, with St.
Helen.
A Holy Conversation.
A Holy Conversation. {Very
important.)
Madonna ; shepherd adoring.
( With two forged signatures
upon it, TiTiANNTJS and Tici-
ANNO.)
I A Holy Conversation, {Very
\ important.)
Madonna, with SS. Anthony
and Jerome.
Madonna, with St. Peter.
A Holy Conversation.
A series of pictures, of which
the Purification of Mary is
the chief.
St. Peter among other Saints.
- Christ and the Widow of Nairr.
St. Barbara, with Keta and
Saints. {^Perhaps Palma^s
■masterpiece.)
The Virgin enthroned.
A Holy Conversation.
The Salutation of Mary.
Virgin enthroned.
Alnwick.
Berlin.
Dresden.
Gallery.
POETEAITS, SINGLE FIGURES, ETC.
Castle. A Peasant Girl ; two lovers in
the distance.
A young "Woman. {Signed P.)
The Three Sisters ; called also
' Palma's Daughters,' and
' The Three Graces.'
Judith.
(?) Ariosto. {Ascribedto Titian)
A young Man. (? Palma him-
self.)
The so-caUed ' Schiava di Titi-
Florence. Uffizi.
London. National Gall,
Munich. Galleiy,
Borne.
Pal. Barberini.
„ Sciarra Palace.
Vienna. Belvedere.
auo.
' La Bella.' {Ascribed to
Titian.)
Lucretia.
Five female portraits. {Nos.
322. 324—327 in Cat. of 188i.)
Violante. (323.)
PALMA, Jacopo, called ' II Giovine,' was bom
at Veui e in 1644. His father, Antonio, nephew
of Palma Vecchio, was also his instructor. At
the age of fifteen he was taken by the Duke of
Urbino to Rome, where he studied chiefly the
works of Polydoro Caravaggio. His manner, though
mechanical, shows much talent, especially in the
treatment of heads. Some of his best pictures are
in the palace of the Doge, and in the Academy.
After the death of Tintoretto and Paolo Veronese
he seems to have displayed legs care, as many of
his later pictures are very inferior. He died in
1628. A good ' Madonna, with Saints,' is in the
church of S. Francesco della Vigna ; and a ' St.
Catharine rescued from the Wheel ' at S. Frari in
Venice. The following examples of his art may
I also be named :
Palmaroli
PAINTERS AND ENGRAVERS.
Falmezzano
Dresden.
Gallery.
The Presentation of Mary.
*»
j>
St. Sebastian.
)»
Crucifixion of St. Andrew.
Florence.
Uffi'i-
St. Margaret with the palm of
Martyrdom.
Milan.
Brera.
The Temptation of St. Benedict.
Munich.
Gallery.
The Deposition. (Signed
Jacobus Palma. F. 1600.)
n
TJ
Two other versions of the same
subject.
„
)»
The Nativity.
)J
»
Eece Homo.
n
)»
The Flagellation.
Venice.
Academia,
Two scenes from the Apoca-
n „ St. Francis.
„ (Contarini Coll.) Six pictures.
,, (Renter Coll.) The Body of Christ sustained
by Angels.
Vienna. Belvedere. The Murder of Abel.
„ „ The Daughter of Herodias.
„ „ Two pictures of the Deposition.
„ „ Christ supported on the edge
of the Tomb by three Angels.
,) „ Christ's Body watched by
Angels.
„ „ The Immaculate Conception.
„ ,, St. John and the Angel of the
Apocalypse.
PALMAROLI, PlETRo, was an Italian painter
and picture reslorer, to whom the world iaindebted
for the preservation of the famous ' Descent from
the Cross,' by Daniele da Volterra, which in 1809
he transferred from the wall, on which it was
painted in fresco, to canvas. This was the first
work of the kind, and he afterwards transferred
and restored several other pictures in Rome, and,
in 1826, in Dresden ; among the latter the cele-
brated 'Madonna di San Sisto,' by Raphael. He
also freed Raphael's ' Sibyls,' in the church of Santa
Maria della Pace, from the destructive restorations
in oil made by order of Alexander VII. His
feats, however, were not all as beneficial as these.
Palmaroli died at Rome in 1828.
PALMASANUS (or PalmeggianI). See Pal-
MEZZANO.
PALMER, Sir Jambs, was a member of the
household of Charles I., and was employed by him
in the purchase of pictures. He made copies of
several works in the Royal Collection, among them
Titian's ' Tarquin and Luoretia.' He is also said
to have painted a feast of Bacchus.
PALMER, Samuel, water-colour painter, was
born in 1805. He early showed a taste for art,
and at the age of fourteen he exhibited at the
British Institution, ' Bridge Scene ' and ' Land-
scape,' and at the Royal Academy, ' Cottage Scene,
Banks of the Thames, Batteraea,' ' Landscape with
Ruins,' and 'A Study.' By the advice of his
father-in-law, John Linnell, he underwent a course
of figure drawing at the British Museum, during
which time he was introduced to W. Blake. He
then went to live at Shoreham with his father,
and we find him exhibiting at the Academy and
British. Institution. In 1839 he married, and for
his wedding tour spent two years in Italy. He
then returned to London, and lived in Kensington
till 1851, when he removed to Furze Hill, near
Reigate, where he spent the remainder of his life.
His last appearance at the Academy was in 1842.
He was elected an Associate Exhibitor of the
Society of Painters in Water-Colours in 1843, and
a full member in 1855. He was chosen a member
of the Etching Club in 1853. A translation of
Virgil's ' Eclogues ' by him was published after his
death, with plates designed and partly etched by
himself. The subjects of his finest drawings were
mostly from Milton. He died at Reigate in 1881.
The following is a complete list of his etchings :
The Willow. 1850. His first plate.
Christmas ; or Folding the Last Sheep. 1850. (From
Bampfylde^s Sonnet.)
The Herdsman's Cottage. 1850.
The Skylark. 1850. (Published ly the Etching Club.)
The Vine ; two subjects on one plate. 1852. (Published
in the ' Songs and Sonnets of Shakespeare.')
The Sleeping Shepherd. 1857. (Published by the Etch-
ijiff Club.)
The Rising Moon. 1857. (Published by the Etching
Club.)
The Herdsman. 18C7. (Published by the Etching Club.)
The Early Ploughman. 1868. (Published in- • Etching
and Etchers.')
The Morning of Life. 1872. (Published by the Etching
Club.)
The Bellman ; from U Pensieroso. 1879.
The Lonely Tower ; fi'om II Pensieroso. 1880. (Pub-
lished by the Etching Club.)
Early Morning ; opening the Fold. 1880.
PALMERUCCJ, GniDO., was born at Gubbio in
1280, and is known to have executed frescoes in
the church of Santa Maria de' Laici, Gubbio, pre-
vious to 1337, and to have painted at the Town
Hall in 1342. In the former of these buildings, on
an exterior wall, are the remains of a figure of St.
Anthony*; and in the latter is a colossal ' Enthroned
Virgin and Child, with Saints and a kneeling
Gonfaloniere.' Many other of the churches in
Gubbio possess frescoes of a similar character to
those mentioned above, which may be by Guido,
but there are no recorded evidences to prove the
fact. His death occurred about 1345.
PALMEZZANO, Marco (di Antonio), was bom
at Forli, probably about the year 1456, and lived
up to 1537. He was a pupil of Melozzo da Forli,
and was in the habit of signing his early produc-
tions Marcus de Melotiilk, a fact which has occa-
sioned many of his best paintings to be attributed
to his master. He closely followed Melozzo's
teachings, and his frescoes exhibit a sculpturesque
hardness of style. In a chapel of San Biagio in
San Girolamo, at Forli, are some frescoes repre-
senting secular scenes which are signed, Marcus
Palmezzanus Victor foroliviensis M. . . ., which,
according to Messrs. Crowe and Cavalcaselle, closely
resemble, both in style and colour, a fresco repre-
senting eight of the prophets, painted on the dome
of the Capella Tesoro in the church of Loretto. In
1497 Palmezzano executed, by order of the Prior
of the Company of San Michelino of Faenza, an
altar-piece representing the Virgin and Child,
enthroned between SS. Michael and James the
Less. The church of the Zoccolanti, at Matelica
near Fabriano, contains an altar-piece, 'An en-
throned Virgin and Child, with a Pieti and Saints^'
etc., signed Marcus de Melotius Foroliviensis
fatiehat, al temp, de frate Zorzo Guardiano del
MoG.G.C.G.C.i-, with a curious monogram. The
church of the Carmine at Forli possesses a ' Glory
of St. Anthony, between SS. John the Baptist and
Sebastian,' with a similar inscription. The exact
date of Pahnezzano's death is unknown. A por-
trait of the artist, painted by himself in 1536, is
now in the Pinacoteca of Forli. Examples of
Palmezzano are also to be found as below :
Berlin. Museum. The Resurrection. 1515.
„ „ Virgin and two Saints.
Bordeaux. JHuseum. Calvary.
Dublin. JVat. Gallery. Enthroned Virgin and Child,
between SS. John Baptist
and Lucy. 1508.
245
Palmieri
Florence.
Forli.
A BIOGEAPHICAL DICTIONARY OP
Palomino
Uffzi.
S. Girolamo.
Tinac, Comun.
Grenoble.
London.
Milan.
Museum.
Nat. Gallery.
Bvera.
Paris.
Kome.
Louvre,
Lateyun,
Spada Palace.
The Crucifixion.
Subjects from the Life of the
Apostle James. 1485.
Virgin surrounded by Saints.
Communion of the Apostles.
1506.
Christ on the way to Calvary.
The Nativity. 1530.
The Entombment.
Virgin and four Saints. 1493.
The Nativity. 1492.
Coronation of the Virgin.
The Dead Christ.
Virgin and six Saints. 1537.
Christ on the way to Calvary.
PALMIERI, GiosEFFO, (or Giuseppe,) was born
at Genoa in 1674. Although he acquired some
reputation as a painter of history, he is chiefly cele-
brated for his pictures of animals. One of the best
of his historical works is his picture in the church
of San Domenioo, at Genoa, representing the
' Resurrection.' He died in 1740.
PALMIERI, PiETKO, painter and engraver, was
born at Parma" in 1740. He learnt the elements of
art in his own city, and then went to Paris. He
painted chiefly landscapes and genre subjects.
After several years' residence in Paris, he was ap-
pointed a Professor in the Academy at Parma.
He died at Turin in 1804. "
PALMIERI, PlETEO Jacopo, engraver, was born
at Bologna in 1720. He engraved landscapes and
battle scenes, the latter chiefly after Simonetti.
PALMISANUS. See Palmezzano.
PALOMARES. See Santiago Palomahes.
PALOMBO, Baetolommeo, was born at Rome
about the year 1612, and was a scholar of Pietro
da Cortona. In the church of St. Joseph, at Rome,
is an altar-piece by him, representing the death of
that Saint ; and in the church of the Carmelites of
St, Martino de' Monti, a picture of ' Mary Magda-
lene.' He was still living in 1666.
PALOMBO, Onofrio, a painter who flourished
at Naples about 1640. He was a pupil of J. B.
Carracoioli and Artemisia Gentilesohi, and painted
chiefly for the churches.
PALOMBO, PiBTRO Paolo, an engraver of Na-
varra, who lived at Rome about the middle of the
16th century. Among his plates were the following:
The Last Supper ; after Eaphael.
A Holy Family ; after the same.
The Entombment ; after Michelangelo,
The Crucifixion ; after the same.
A Drawing-School ; after the same.
PALOMINO, Juan Beenab^, was born at Cor-
dova in 1692, and studied painting under his uncle
Antonio Palomino at Madrid, until the death of
that artist in 1726. He practised engraving also, and
executed the second title-page and some plates for
his uncle's great work. - Returning to Cordova, he
devoted himself to the burin, executing a portrait
of Louis XV. of Prance of such merit as to induce
Philip V. to recall him to court. On the estab-
lishment of the Academy of San Ferdinando in
1752, he was made director of the engraving
school, and Perdinand "VI. appointed him engraver-
in-ordinary. He died at Madrid in 1777. He exe-
cuted a large number of prints, some of consider-
able merit : ' Dionysius the Carthusian,' after Car-
duoho ; ' San Bruno,' from the statue by Pereira ;
'A Miracle of St. Isidro,' after Carreno ; 'St. Peter
in Prison,' from a picture by Roelas, in the church
of that saint at Seville ; portraits of Queen Isabella,
the Nuncio Cardinal Gonzaga, his own nephew,
246
Nicolas Palomino, the Jesuit Alonzo Rodriguez,
the controversialist Bishop Juan de Palafos, and
many other worthies of his time. He furnished
titles and frontispieces to many books. He left
a son, Juan Pernando Palomino, likewise an en-
graver, who died at Madrid in 1793.
PALOMINO DE CASTRO Y VELASCO, Don
AoiscLO Antonio, the Vasari of Spain, was born at
Bujalance, near Cordova, in 1653. His parents were
Eernab§ Palomino and Maria Andrea Lozano, who,
being in good circumstances, transferred their
residence to Cordova, in order to bestow an educa-
tion on their son suitable to his rank. Here he
studied grammar, philosophy, theology, and juris-
prudence ; but his ruling passion discovered itself
by his devoting his leisure hours to copying prints.
In 1672, the painter Juan de Viildes Leal, returned
from Seville to Cordova, and was shown some of
Palomino's productions ; he gave him encourage-
ment to proceed, and taught him the fundamental
rules of painting. This decided his course, and he
acknowledged Valdes Leal as his master. He,
however, did not abandon his literary studies, and
was ordained for the Church. In 1675 he received
some further instruction and encouragement from
Juan de Alfaro, who recommended him to visit
Madrid, and study the works of the great masters
there. But he stayed at Cordova till 1678, when
Alfaro returned to Madrid, and Palomino .accom-
panied him. He found employment at the court,
and gave so much satisfaction to his friend Alfaro,
that the latter appointed him by his will to finish
some pictures which he had commenced, but had
been unable to complete. Palomino next formed a
friendship with Juan Carreno and Coello, and was
chosen by the latter to assist in painting the ceiling
of the queen' s gallery at the Alcazar ; he executed
his part so much to the satisfaction of his coadjutor,
that Coello, having other engagements at the Es-
corial, left him to finish the ceiling. On the mar-
riage of Charles II. in 1690, Palomino designed the
decorations for the state entry. In 1692, the arrival
of Luca Giordano caused some consternation among
the Spanish painters; but Palomino maintained
his position. Luca was probably not so well versed
in Christian as in heathen mythology, and Palo-
mino was able to instruct him in the subjects he
was called upon to paint. This he did with such
delicacy and perspicacity, that Giordano, embracing
him warmly, exclaimed, " The work is done I "
In 1697 he went to Valencia, where he painted the
frescoes from the lives of the two St. Johns, in
the presbytery of the church of San Juan-del Mer-
cado, and remained there for three years, with the
exception of a short period passed at Madrid, and
painted several important pictures. While at the
latter city, in 1701, he produced his ' Confession of
Peter,' in Nuestra Senora Desamparados. In 1705
he went to Salamanca, to paint frescoes in the
convent of San Esteban. On his return to Madrid
he produced many other pictures ; and in 1715
published the first volume of his ' Museo Pictorico,'
on which he had been employed for many years.
He had in 1712 painted the sacristy of tlie Car-
thusian monastery at Granada, with a ' St. Bruno
supporting the World, amid a glory of saints and
angels ; ' as well as five pictures for the grand altar
at Cordova. He published the second volume of
the ' Museo Pict6rioo ' in 1724. From this time his
health began to decline ; and his wife having died
in 1725, he was ordained a priest. He died in the
following year, and was buried with great pomp in
Paloun
PAINTERS AND ENGRAVERS.
Fandereu
the same grave as his wife, in the church of San
Francesco, at Madrid.
As an artist he was more successful in oil-
paintings than in frescoes. He is, however, best
known by his writings upon art. In his two folio
volumes he notices upwards of two hundred painters
and sculptors, who flourished in Spain from the
time of Ferdinand the Catholic to the end of the
reign of Philip IV. Of this work there was an
abridgment, in Spanish, published in London in
1742, entitled, ' Las Vidas de los Pintores y
statuaries erninentes Bspanoles,' of which there
is an English translation. The original volumes,
though containing plenty of mistakes, afford a vast
store of good material, and until the more exact
work of Cean Bermudez appeared, were the only
source worth consulting for a knowledge of the
arts and artists of Spain.
Palomino's sister, Francesca Isabel, also prac-
tised painting.
PALOUN, John, a painter, was a native of
Dumfries in Scotland. In 1730 he came to London,
but died in the following year.
PALTHE, Adeiaan, son of Gerard Palthe. He
painted a few portraits, and copied many pictures
in -gouache.
PALTHE, Antonis, son of Gerard Palthe, and a
portrait painter of little note. His widow married
Willem Hendriks, of Haarlem.
PALTHE, Geraed Jan, bom at Degenkamp, in
Overyssel, in 1681, was a scholar of Jurriaan Pool.
He painted portraits, family subjects, and inte-
riors, by candle or torch-light, in the manner of
G. Schalken. He died about 1750.
PALTHE, Jan, portrait painter, a son and pupil
of Gerard Jan Palthe, was born at Deventer in
1719, and resided at Leyden, where he acquired
considerable reputation, and where he died in 1769.
There were two other painters of the same name,
who may be considered as amateurs. Works :
Amsterdam. B. Museum. Portrait of Pieter Cypiiaan
Testart.
„ „ Portrait of Agatha Heronyma
Nobel (Testart's wife).
„ „ Portraits of the Nobel family.
PALTRONIERI, Pietro, (or Palteinieei,)
called II Mieandolese ualle PEOsriTTivE, was
born, according to Oretti, at Bologna in 1673. He
distinguished himself as a painter of perspective
and architectural views. There are many of his
works in the public edifices at Bologna, also at
■\'ieima ; the figures in these are frequently painted
by Ercole Graziani. He died in 1741.
PALUDANUS, Heineich, a painter, was a native
of Malines, and flourished about the middle of the
16th century. He was a pupil of F. Floris, and
afterwards went to Italy, where he spent some
time at the Ducal Court of Florence, and some
time at Rome, eventually returning to his own
country.
PALUSELLI, Ignaz, called Paduello, was a
native of Heimserthale in the Tyrol, and painted
several Bacchanalian pieces. He died young at
Eoveredo in 1778.
PAMPHILUS was a native of Amphipolis, in
Macedonia, and a disciple of Eupompus. He
flourished from about 390 to 350 B.C., principally
in the reign of Philip, the father of Alexander the
Great, and has the reputation of being the first
artist who united painting with the study of the
Belles Lettres. He was well acquainted with
mathematics, which he considered necessary to
art, employing them doubtless in calculating pro-
portions in fore-shortening. He in fact hel.l
the opinion that a painter ought to be versed in
every -department of knowledge, and conversely
that no education was complete that did not com-
prise an acquaintance with painting. Such was
the lustre and dignity to which he elevated the art,
that by his influence an ordinance was first pub-
lished at Sicyon, and afterwards liiade general
throughout Greece, by which painting was placed
in the first rank among the liberal arts, was for-
bidden to be practised by slaves, and was only
to be studied by persons of education and distinc-
tion. It was indeed as a teacher and theorist that
he won so high a reputation, that the young men of
the noblest families became his disciples. Their
course of study occupied ten years, and the fee for
it was a talent (£250). He distinguished himself
among the painters of his time by a superior skill
in composition. His pictures were usually of large
dimensions, and more crowded with figures than
was customary with Greek artists. One of his
best represented the Battle of Phlius ; another,
Ulysses in his Galley. It is stated that he also
practised encaustic painting. He had the credit
of having been the instructor of Apelles, while
Melanthius and Pausias were certainly his pupils.
PAMPLONA, Pbdeo de, scribe and miniature
painter. About the middle of the 13th century he
wrote and illuminated a Bible for King Alonso the
Wise, of Spain. This MS. is now in the library of
Seville Cathedral. The miniatures are poorly drawn
and designed, but are brilliant in colour.
PAMPURINI, Alessandeo, a Cremooese painter
of historical and religious subjects. He -flourished
in 1511, in which year he was at work in the
cathedral of Cremona.
PAN. See Lis, Jan.
PANCALDI, Pibteo Feancesco, called Mola,
was a native of Ancona, but flourished as a painter
at Bologna about 1780. He painted portraits and
historical pieces.
PANCHET, called Belleeose, an obscure French
painter of portraits and landscape, who was at
work at Bayeux early in the present century.
PANCOEBO, Francisco, a little k^own Spanish
historical painter, who was at work at Jaen about
the middle of the 18th century.
PANCOTTO, Pietro, was a native of Bologna,
and flourished about the year 1590. He was
brought up in the school of Carracci, and, according
to Malvasia, was one of the most eccentric and
enterprising artists of the Bolognese school. His
principal work is the ' Last Judgment,' painted in
fresco, in the church of La Madonna di San Colom-
bano, at Bologna.
PANDEKEN, Egbert van, a Dutch engraver,
was bom at Haarlem in 1606 (according to Nagler
1576). He resided at Antwerp, where he engraved
a considerable number of plates, executed with the
burin in a formal style. Among others, we have
the following :
The Virgin interceding with Christ for the salvation of
mankind ; after Rulens.
The Fonr Evangelists ; after Pieter de Jode.
St. Louis, with a border representing his Miracles ;
after the same.
Three circular plates of Minerva, Juno, and Venus ;
after Spraiiger.
The Portrait of Maurice, Prince of Orange, on horseback,
with a battle in the background ; after Tempesta.
Four plates of the Sick Man and the Doctor ; after
Goltziusi scarce.
247
Panderit
A BrOGRAPHICAL DICTIONAEY OF
Pannini
Part of the Plates for the ' Acad^mie de I'EspSe ' ; ly G,
Thihault.
PANDERIT. See Padditz.
PANDINO, Antonio da, lived in Milan in the
middle of the i5th century, and painted the Apostles
in the pendentives of the cupola of San Satiro,
Milan. He is also the author of a window in the
Certosa of Pavia, representing ' St. Michael over-
coming the Dragon.' His master was probably a
glass painter, known as Pandino Milano.
PANDOLFI, Giangiacomo, was a native of
Pesaro, and flourished early in the 17th century.
He was a scholar of Federigo Zuccaro, of Whose
style he was one of the most successful followers.
He painted in fresco in the Oratorio de Nome di
Dio, where he treated several subjects from the Old
and New Testaments. His picture of ' San Giorgio
and San Carlo,' in Pesaro cathedral, is considered
by Lanzi as little inferior to the works of Zuccaro.
PANDOLFO. See Eesohi.
PANEELS. See Pannebls.
PANETTI, DoMENioo, was the son of Gasparo
de Panetis of Ferrara, and was probably born about
1460. He was a contemporary of Costa, and,
according to Vasari, the master of Garofalo. His
early paintings show him to have been a disciple
of Bono da Ferrara. The Berlin Museum possesses
a ' Dead Christ wept over by the three Maries ; ' and
the sacristy of the cathedral at Ferrara, a ' Virgin
and Child enthroned,' which may be counted among
his earlier productions. In 1503 he painted a ' St.
Job,' and a ' Virgin and Child between four saints.'
In 1509 he executed the frescoes in the chapel of
San Maurelio, at San Giorgio extra Muros di Fer-
rara, by order of Alphonso I. In 1511 he received
payment for a banner, representing on one side the
Virgin and Child, and on the other a skeleton,
painted for the brotherhood ' della Morte,' of
Ferrara. His death occurred before 1513. Many
of the private and public galleries of his native
city contain pictures by Panetti ; the Costabili
Collection alone possesses eight. The following
may also be named :
Ferrara. JPinacoteca. The Annunciation.
„ „ The Visitation.
„ „ St. Paul. (And others.)
Paris. Louvre. The Nativity.
PANFI, RoMOLO, was born at Carmignano, near
Pistoja, in 1632. He was instructed in the art of
painting by G. Vignali, and at first painted small
portraits, but afterwards took to landscapes and
Kattle-pieces. He died about 1700,
PANFILO. See Ndvolone.
PANHUIJS, LuisE Friedbike Auqdste von,
was born at Frankfort in 1763. She was the
daughter of the designer and painter Helene Ehsa-
beth von Barkhaus-Wiesenhiitten (who lived from
1736 to 1804), and married van Panhuijs, the
Dutch governor-general of Surinam, and resided
with him at Paramaribo during 1810-16. She
visited that place a second time, and on both
occasions painted landscapes, plants, and butter-
flies from nature. She was a pupil of Gerard C. H.
Schtitz, and painted landscapes after Waterloo,
Moucheron, and also after her own designs^ She
died at Frankfort in 1844.
PANICALE. See Fini.
PANICO, Antonio Maria, was, according to
Belloriy a native of Bologna, and a disciple of
Annibale Carracci. He accompanied that rhaster
to Rome when he was very young, and»was taken
under the protection of Signer Mario Farnese, who
248
employed him in ornamenting his country-seats of
Castro and Latera. In the cathedral at Famese
he painted a picture of the Mass, in which he is
supposed to have been assisted by Annibale
Gsrr&cci
PANICO, Ugo da. See Carpi.
PANINI. See Pannini.
PANNEELS, Herman, a Fleming, was the
engraver of two plates for a book to vindicate
Philip IV. 's claim to the title of 'the Great,' pub-
lished by Don Juan Antonio Sapia y Roleles at
Madrid in 1638. He also engraved a portrait of
Philip IV. in armour wearing the order of the
Golden Fleece, inscribed 'A Religione Magnus,'
and an excellent head of Olivarez, the minister,
with the cross of Calatrava, both framed in tasteful
borders, and taken from pictures by Velasquez.
PANNEELS, WiLLEM van, a Flemish painter
and engraver, was born at Antwerp about the year
1600. He was a disciple of Rubens, as appears
from the inscription on one of his prints. He
worked at Cologne and Frankfort-on-the-Maine,
and one of his plates is dated 1636. The year of
his death is unknown. Of his work as a painter
little is known, and from the number of his prints
he appears to have been chiefly employed in
etching after Rubens and from his own designs.
The following are his principal plates :
after RUBENS.
The Portrait of Eubens, in an octagon border.
David cutting off the Head of Goliath.
Esther before Ahasuerus.
The Adoration of the Magi.
Mary washing the Feet of Christ.
The Assumption of the Virgin.
The Holy Family, with the Infant Christ and St. John
playing with a Lamb.
St. John baptizing Christ.
Samson killing the Lion, with a companion, David kill-
ing the Lion and the Bear.
St, Sebastian.
The Toilet of Venus.
Jupiter and Antiope.
Jupiter and Juno.
Bacchus drunk, supported by a Faun and a Satyr.
Bacchus supported by Satyrs and a Bacchante.
Meleager presenting the Head of the Boar to Atalanta.
AFTER ANNIBALE CARRACCI.
Holy FamUy.
The Fate of Phaeton.
The Nativity.
PANNI, an obscure Italian decorative painter.
He was a relative and pupil of Gio. Bat. Zaist.
PANNICCIATI, Jacopo, according to Baruff-
aldi, was born at Ferrara about the year 1510.
He was a, disciple of Dosso Dossi, and painted
history much in the style of that master. He died
young, in 1540.
PANNINI, Cavaliere Giovanni Paolo, or Giam-
POLO, (or Panini,) was born at Piacenza in 1691,
or 1695. He went early to Rome, w^here he became
a scholar of Andrea Locatelli and Benedetto Luti.
He also partly adopted the style of Salvator Rosa.
He applied himself to designing the remaining
monuments of ancient architecture in the Roman
vicinity. His merit, however, is not confined to
architecture ; he decorated his pictures with figures,
gracefully designed, and grouped with taste.
Although he usually confined himself to pictures
of an easel size, he was not incapable of succeed-
ing in works on a larger scale ; and Lanzi speaks
in very favourable terms of a ' Christ clearing the
Temple,' with life-size figures, in the church of the
f annini
PAINTERS AND ENGRAVERS.
Panzacchi
Florence. TTfflzi.
London. Nat. Gallery.
Madrid. Esemrial.
Montpellier. Museum.
Paris. Louvre.
Rome. Corsini Palace.
Turin. Gallery.
Signori della Missione, at Piacenza. Works of
Pannini are to be found in most large collections
in England, and several decorate the palaces of
Rome. Two of the finest are in the gallery of
the royal palace of Monte Cavallo. Pannini died
in 1764. He was a member of the Academies of
San Luca, at Rome, and of Paris. Many of his
pictures have been engraved by Lempereur, Le
Bas, J. S. Miiller, Vivares, Benazech, Bartolozzi,
and other eminent engravers. The following are
among those that remain :
Ruins. {A similar subject at
Grenolle.)
The Pyramid of Cestius.
A Cardinal visiting a Picture
Gallery.
Vestibule of St. Peter's at
Rome.
Monuments of Rome.
A Banquet (two copies).
A Concert.
Architectural Ruins (three sub-
jects).
Interior of St. Peter's at Rome
{iSigned I. P. Panini. RoMiE.
MDCOXXX.).
Concert given at Rome on the
Birtli of the Dauphin in 1729.
Preparations for the F4te on
the ^ame occasion.
The Porch of Octavia.
The Temple of Vesta.
The Pantheon.
Three Views in Rome.
PANNINI, Giuseppe, painter, was born at Rome
about 1745. He was instructed by his father,
Giovanni Paolo Pannini. He painted chiefly land-
scape and marine pictures, and travelled in Italy,
France, and England. He died about 1812.
PANCENDS, a distinguished painter of ancient
Greece, was the nephew of the great sculptor,
Phidias, and probably some years younger than
Polygnotus and Micon. He exercised his talents
in conjunction with his uncle, in adorning the
temple of the Olympian Jupiter, where he painted
' Atlas supporting the World,' and ' Hercules, ac-
companied by Theseus and Peirithoiis, preparing
to relieve him of his burden.' He also painted
' Hercules combating the Nemean Lion ; ' ' Hippo-
damia, the daughter of ^nomaiis, with her mother ;'
' Prometheus chained to the Rock, whom Hercules
is about to deliver ; ' and ' Penthesilea killed by
Achilles.' But the work which most contributed
to the establishment of his fame, was the ' Battle
of Marathon,' with which, assisted by Micon, he
decorated the Poecile at Athens.
PANTALEO, a Byzantine miniaturist of the
10th century, by whom several of the miniatures
in a missal sent to Luigi Sforza, Duke of Milan,
by the Emperor Basilius Porphyrogenitus, were
painted.
PANTOJA DB LA CRUZ, Juan, was bom at
Madrid in 1551, and was a scholar of Alfonso
Sanchez Coello, in whose school he so greatly dis-
tinguished himself that Philip II.. named him one
of his painters and valets-de-chambre. He became
very eminent both as an historical and portrait
painter. Palomino possessed the original designs
by him for the beautiful tombs of Charles V.
and Philip II. in the Escorial, which he painted in
oil, together with two escutcheons of the Arms of
Austria, en grisaille, which were used at the
funeral ceremony of the great Emperor. He painted
a great number of portraits of the family of Philip
II., of which many exist at the Escorial, the Retiro,
and in the tower of the Paradas. Several were
destroyed at the burning of the Prado. At the
death of Philip, he continued in favour with his
successor, Philip III., who commanded him to
paint his portrait on horseback, as a model for the
famous sculptor, Giovanni de Bologna, then at
Florence, to form the equestrian group in bronze
placed in the garden of La Casa del Campo ; Taoca
also executed a statue from it. He painted also
two magnificent portraits of Philip III. and his
Queen, which are dated 1606, and are still pre-
served in the palace of the Dukes d'Uceda at
Montalvan. Bermudez lays particular stress upon
the portrait of the councillor Ruiz Perez de Ribera,
which is in the monastery of Santa Maria de Naxera.
It is dated in 1596. Mention is further made of
a picture of the ' Adoration of the Shepherds,'
in which the portraits of Philip II. and his
family are introduced. Among the other notable
persons whom he portrayed, we find the Empress
Maria and the Princess Juana in the Desoalzas
Reales, and the same Empress with the Princess
Margarita of Austria and Isabel de Valois in the
Madrid Gallery. He was also a successful painter
of animals. After a laborious life he died at
Madrid in 1609. The Spanish parallel to the story
of Zeuxis IS attached to a work by this master.
It is related that a superb eagle having been cap-
tured near the Prado, the king gave orders to Pan-
toja to paint its likeness ; which he did with so
much truth, that the royal bird on seeing it mistook
it for a real eagle, and notwithstanding all their
efforts to control it, attacked the picture with
impetuosity and tore it to pieces. The Madrid
Museo possesses the following examples of his work :
Portrait of Donna Maria, daughter of Philip II., and
wife of the Emperor Maximilian II.
Portrait of Isabel of Valois, third wife of Philip II.
Ditto. ditto.
Portrait of Margaret of Austria, wife of Philip III.
Portrait of the Emperor Charles V.
Portrait of the Infanta Juana, daughter of Philip II.
Portrait of Philip II.
The Birth of the Virgin.
The Birth of Jesus Christ.
Two female portraits.
One male portrait.
PANTOT. A French painter of this name,
a native of Lyons, was the intimate friend of
Thomas Blanchet during the latter's stay in Rome,
about the middle of the 17th century.
PANVINUS, Onulph, is stated to have been
a native of Antwerp. He flourished in the latter
part of the 16th century. He engraved and pub-
lished a set of twenty-seven portraits from his own
designs, entitled ' Elogias et Imagines Pont. Max.
ad. viv. delin.' 1668. Zani mentions an Onofeio
Panvinds, a designer and engraver of Verona,
who was at work about the same period.
PANZA, Fbbdbrigo, was born at Milan between
1633 and 1643. He was a pupil of Nuvolone, and
went to Venice to copy the works of Titian and
Paolo Veronese. On his return he settled at Milan,
where he executed several pictures, and was
knighted by the Duke of Savoj'. He died in 1708.
PANZACCHI, Maria Helena, (Panzachia, Pan-
znccHi,) was born, according to Orlandi, at Bologna
in 1688. She was instructed in design by Emilio
Taruffl, and became a reputable painter of land-
scapes, embellished with figures. Some of her
works are to be found in the private collections at
Bologna. Zani says she died in 1737.
249
Faoletti
A BIOGRAPHICAL DICTIONARY OF
Papi
PAOLETTI, Antonio d'Eemolas, painter, worked
at Venice, decorating the court of the Oasa Luna
with frescoes and oil pictures in the style of Louis
XVI., and producing scenes from the fashionable
life of Venice in the 18tli century. His best works
are ' The Ages of Man,' and ' Choir Boy drinking
Wine.'
PAOLETTI, Paolo, was a native of Padua, and
flourished in the first half of the 18th century. He
excelled in painting flowers, fruit, fish, and dead
game. His pictures are held in considerable estim-
ation throughout Friuli. He died at Udine in
1735.
PAOLI, Francesco da. Florent le Comte men-
tions this artist as the engraver of a View of the
City of Rome. He lived about 1640.
PAOLI, Jacobds, was an inferior artist, living
at the beginning of the 15th century, who was the
painter of an ' Annunciation ' with a kneeling
patron, in the Archivio Notarile of the Podesta's
Palace at Bologna, and also part author of an
altar-piece of the Coronation of the Virgin in the
chapel of San Croce, in the church of San Giacomo
Maggiore, in the same city.
PAOLI, MiCHBLE, a pupil of Crespi, who practised
at Pistoja as a historical painter at the beginning
of the 18th century.
PAOLILLO, a Neapolitan, and the best pupil
of Sabbatini, to whom his works used invariably
to be ascribed. Paolillo died young.
PAOLINI, Giacomo. See Paulini.
PAOLINI, PiETRO, or LucA PiBTRO, (or Paulini,)
was born at Lucca in 1603, and was sent early in
his life to Rome, where he entered the school of
Angelo Caroselli, and where he remained thirty
years. After returning to Lucca he established an
academy there. His death occurred in 1681 or
1682. He painted a fine picture of the Martyrdom
of St. Andrew, for the church of San Michele at
Lucca ; and Ms large work in the library of San
Frediano, representing Pope Gregory entertaining
the Pilgrims, is in the style of Paolo Veronese.
He invented an instrument for taking perspective
views, and designing them in their due proportions :
perhaps the Camera lucida.
PAOLINI, Pio (or Fabio), was a native of
Udine, but studied at Rome under Pietro da Cor-
tona. He painted historical subjects, and was re-
ceived into the Academy at Rome in 1678. There
are several of his frescoes in the Roman churches ;
a ceiling of one of the chapels in San Carlo al
Corso is particularly good.
PAOLINO, Fea. See Del Signoeaccio.
PAOLO DEL MAESTRO NERI, was a Sienese,
living in the middle of the 14th century, and a
pupil and follower of the Lorenzetti. His name
first appears on the roll of the Sienese Guild of
Painters in 1355. He is the author of a series of
chiaroscuro frescoes in the cloisters of the convent
of Lecceto, representing Heaven and Hell, the
Works of Mercy, incidents from the lives of certain
Augustine Hermits, and other subjects both sacred
and profane, which were finished in 1343.
PAOLO DEL MASACCIO. See Pittoei.
PAOLO Di DONO. See Dong.
PAOLO VENEZIANO, (or Maesteo Paolo,) a
north Italian painter, who was at work at Vicenza
in 1840. His two sons, Giovanni and Jacopo,
helped him in his work. In the Hopenzollern
collection, at Sigmaringen, there is a ' Coronation
of the Virgin ' with the following inscription :
EEGINA CELI LKTAEE ALELUIA QUEN MEEUISTI
250
CHEISTAM POETARE ALELUIA ; and Under the throne
the signature : MCCCLVIII johaninus eiv(s)
PAULDSCUM PILIU(S) PISEKV'J" HOC OP(VS).
PAOLOTTO, IL Frate. See Ghislandi, Vittoee.
PAON. See Le Paon.
PAOUL, Jean. An artist of this name was
painter-in-ordinary to the court of Lorraine in
1575. Portraits by him are still extant in Nancy
and the neighbourhood.
PAPA, SiMONE, ' il Giovine,' born at Naples in
1506, was the son of a goldsmith, who intended to
bring him up to that business, but as he had shown
an inclination for art, he was placed under the
instruction of Giovan' Antonio d'Amato, the elder,
and became a painter of history. In tlie church
of Santa Maria la Nuova, at Naples, are two
frescoes by this master, in one of which he has
represented the Assumption of the Virgin, and in
the other the Annunciation. Another of his fres-
coes is in the choir of Monte Oliveto, in the same
city. He died at Naples in 1567.
PAPA, SiMONEJ ' il Vfecchio,' was bom at Naples
about the year 1430 ; his death occurred in 1488.
He was the scholar of Antonio Solario, surnamed
'lo Zingaro.' In the church of San Niccolo alia
Dogana, Naples, there is a picture of the Annun-
ciation by Papa ; and the church of San Lorenzo
in the same city pos'sesses his altar-piece of the
Virgin and Child, with Saints. Further there
remain by him :
Naples. Museum, St. Michael weighing goals, be-
tween two donors and their
Saints.
,, „ The Crucifixion.
„ „ Virgin and Child, with Saints.
PAPARELLO, ToMMASo, (or Papacello,) painter,
was a native of Cortona. In 1651 he was employed
as assistant by Giulio Romano. He was still alive
in 1553.
PAPE, A. DE. See De Pape.
PAPE, ^GiDius Simon (de), a native of Oude-
narde, who flourished from 1585 to 1636. He
spent his life in his native town, where he enjoyed
a considerable reputation as painter, goldsmith, and
architect. His son JossE was also a painter, and
on the death of his father, migrated to Rome.
Another son, Simon, lived and worked at Oudenarde,
where, and at Ghent, some of his works are to be
found. This Simon died in 1677. His son Gillis
practised as an historical painter in Oudenarde,
where he died in 1705.
PAPE, F. DE, a Flemish miniaturist and painter
in water-colours. He was born in 1814, and died
at Bruges in 1863.
PAPE, Martin Didiee, was an enamel painter,
who lived at Limoges from 1574 to 1609, and was
about the former date superintendent of the enamel
factory there.
PAPETY, Dominique Louis F]SEtioL, a French
painter, born at Marseilles in 1815. He was a
pupil of L. Cogniet, and carried off the Grand Prix
in 1836. In Rome he painted 'Moses in the
bulrushes ; ' a copy of the ' Council of the Gods,'
after a fresco of Raphael's ; and ' Dream of Hap-
piness.' He travelled in Greece and the East, and
made many drawings ; on his last voyage he laid
the seeds of a fever which carried him off in 1849.
PAPI, Ceistofano pi, called Dell' Altissimo,
was a Florentine painter of the middle or latter
half of the 16th century. He was a pupil of Bron-
zino and Pontormo, and in his youth produced
several important pictures, chiefly portiaits, for
Papillon
PAINTERS AND ENGRAVERS.
Parcelles
Cosmo I. Duke of Tuscany ; also a large number
of those portraits of distinguished persons which
hang in the corridor of the Uffizi at Florence.
Neither the year of his birth nor that of his death
has been ascertained, but he was still living in
1668.
PAPILLON, Jean, ' the elder,' a French engraver
on wood, was born at Rouen in 1639. He was
instructed by Du Bellay, but his design was not
equal to his engraving. He died in Paris in 1710.
PAPILLON, Jean Baptiste, ' the younger,' the
son of Jean Papillon, was bom at St. Quentin in
1661. After receiving some instruction in drawing
from his father, he was sent to Paris, where he was
placed under the tuition of Noel Cochin. His first
pursuit was drawing with a pen. He afterwards
turned his attention to engraving on wood, and his
cuts possess considerable merit. He executed a
great variety of vignettes and book ornaments,
and is said to have been the inventor, about the
year 1688, of paper-hangings for rooms. He died
in Paris in 1723. Among his cuts were the por-
traits of Popes Paul III., Jnlius III., and Pius IV.,
also of King James II. of England. His most
famous woi'k was a ' Mass-book ' in chiaroscuro
after Leolerc.
PAPILLON, Jean Baptiste Michel, the son of
Jean Baptiste Papillon, was born in Paris in 1698,
and was instructed by his father in the art of
engraving on wood, which he practised with great
success. Among his best performances are the
cuts he executed in conjunction with N. le Sueur,
from the designs of J. J. Bachelier, for the fine
edition of 'Les Fables de la Fontaine,' in four
volumes folio. He also furnished 217 plates to
the Amsterdam Historical Bible. He published a
history of the art of engraving on wood, in two
volumes, entitled, ' Traits Historique et Pratique
de la Gravure en Bois,' in which, however, he was
guilty of many mistakes, while the appearance of
more recent works on the subject has destroyed
its value. He died in Paris in 1776.
PAPILLON, Jean Nicolas, wood engraver, was
born at St. Quentin in 1663. He was the son of
Jean Papillon 'the elder.' He executed several
unimportant works. He died in 1714.
PAPIN, J. A., a French painter, and native of
Bordeaux, was born in 1800. He never rose above
mediocrity, and died in 1880. His best work is a
' Dream of St. Joseph.'
PAPINI, Giuseppe, (or Giuseppe Benedetti de
Papini,) an Italian engraver, who, according to
Zani, was born in 1707, and died in 1782. He
executed several plates of ceilings, and other
decorations for the ' Museo Etrusco,' by Gori ; the
' Museum Gapitolinum ;' and other works published
between 1737 and 1760.
PAPPANELLI, Niccol6, a native of Faenza,
was born in 1637. He was a knight, and an
amateur in art, which, however, he studied with
enthusiasm under the influence, at least, of Baroccio.
His best work is a ' St. Martin ' in Faenza cathe-
dral. Pappanelli died in 1620, aged 83.
PAPPEBITZ, GustavFkiedbich, landscape and
genre painter and etcher, was born at Dresden in
1813. He studied at the Academy there under
Clausen-Dahl, and, after 1836, at Munich. He
travelled in Italy and Spain. His death occurred
at Dresden in 1861. In 1836 he brought outtwelve
etchings of Italian views. Among his paintings
there are :
The Valley of Blche, in Spain. (Dresden 3Ittseum.)
Buins of Petersberg, near Halle.
Siciliau Pilgrim scene.
PAPPINO della PIEVE, an Italian painter of
the 16th century. He was a pupil of Niocoli Soggi,
but died in his first youth.
PAQUEST, AiMABLE Louis Claude, a pupil of
David, born in 1790, and died in 1819. Though
well endowed by nature, his early death and his
laborious finish curtailed his productiveness ; a
portrait of M. de Nanteuil-Lanorville, exhibited in
1817, with three or four other portraits and a few
studies, complete the list of his pictures.
PARADISI, NiccoLO, a Venetian painter of the
15th century, whose name is preserved by the
signature on a ' Crucifixion,' which runs thus :
Nicholaws Paradixi Miles de Venetiis pinadt,
1404. The picture belongs to the Agosliniani
family at Yerucchio.
PAEANT, — , a painter referred to in the will of
Pierre Mignard. Probably a journeyman who
' forwarded ' that master's pictures and completed
the accessories.
PABANT, Louis Beetin, a famous painter on
ivory and porcelain, was born in 1767. He was
distinguished by Napoleon when First Consul ; for
him he executed several works. Parant died in
1852.
PARASACCHI, DoMENico, an Italian designer
and engraver, resided at Rome about the year 1630.
In conjunction with Giovanni Maggi, he engraved
a set of plates of the Fountains at Rome, published
in 1618, and again, with additions, in 1636.
PARASOLE, Beenakdino, was the son of Leo-
nardo Parasole, and studied painting in the school
of Giuseppe Cesari. He was a native of Norcia.
He had begun to distinguish himself as an his-
torical painter, when he died, in the bloom of life.
He executed a few engravings on wood, from his
own designs.
PARASOLE, Geeonima, was a sister of Isabella
Parasole. We have by her some engravings on
wood ; and, among others, the ' Battle of the Cen-
taurs,' after Tempesta ; and a series of scenes from
the Life of St. Anthony.
PARASOLE, Isabella, was the wife of Leonardo
Parasole, who assumed her family name. She
executed several cuts of plants for an herbal, pub-
lished under the direction of Prince Cesi, of Aqua-
sparta. She published a book on the methods of
working lace and embroidery, with ornamental
cuts, which she engraved from her own designs.
She was working at Rome about 1600, and died
there in her 60th year.
PARASOLE, Leonaedo, born Noesini (or Nor-
cino), an Italian engraver on wood, was born at
Rome about the year 1570. He chiefly distinguished
himself by his cuts in the Herbal of Castor Durante,
physician to Pope Sixtus V., which were engraved
by order of that pontiff. He also engraved the
wood-cuts to a 'Testamentum novum, arabice et
latine,' and several prints from the designs of
Antonio Tempesta, including an ' Annunciation.'
He married Isabella Parasole, and thenceforth
went by her name.
PARCELLES, Jan, (Paecellis, Peecelles, Pok-
cellis, &c.,) painter and etcher, was born at
Ghent about the year 1597, and was a scholar of
Hendrik Cornells de Vroom. He lived at Haarlem
from 1622 to 1680, and died there in or subsequent
to the latter year. He excelled in painting marines,
particularly tempests, thunderstorms, and ship-
wrecks. His pictures of calms have also considerable
251
Parcelles
A BIOGRAPHICAL DICTIONARY OF
Fariset
merit ; they usually represent views of the
coast of Holland, with fishing-boalB, and groups
of figures on the strand. Among his etchings are
the following :
A set of twelve large and eight small Sea-pieces.
A set of twelve plates of the different Shipping used in
Holland, with a Latin inscription. 1627.
PARCELLES, Julius, the son and scholar of
Jan Parcelles, was born at Leyerdorp in 1628.
He painted similar subjects to those of his father,
vifhose style he imitated with some success. His
productions cannot always be distinguished from
those of the elder Parcelles, as they both marked
their pictures with the initials J. P. Good ex-
amples of their work are to be seen in the galleries
of Berlin, Frankfort, and Vienna.
PARBDES, Juan de, was a Spanish painter,
who studied under Miguel Menendez at Madrid,
and afterwards with Evaristo Munoz at Valencia.
According to Cean Bermudez his drawing and
colouring excelled many of his contemporaries;
His best works are in the convent of the Shod
Trinitarians and in the College of Augustines, at
Valencia.
PAREJA, Juan de, known as the Slave of
Velasquez, was born at Seville in 1606. He
accompanied Velasquez to Madrid in 1623, and re-
mained in his service till he died. Being employed
in the menial work of the studio he took every
opportunity to perfect himself as an artist, but
kept his ambition studiously concealed from his
master. At length he painted a picture which he
placed in his master's studio in such a position as
to attract the attention of Philip IV. The king
was so pleased with the work that he asked for
the author, whereupon Pareja owned that it was
himself, and in return received his liberty. Velas-
quez promoted him to the rank of a pupil, but he
remained in his master's service till the latter died,
and afterwards served his daughter till his own
death in 1670. The Madrid Gallery possesses a
single work of Pareja, ' The Calling of St. Matthew,'
and the Gallery of St. Petersburg the portrait of a
Provincial of some religious order. He excelled
in portraiture.
PARBNTANI, Antonio, an obscure Italian
painter, who was at work in Turin in 1550. He
painted a ' Paradise,' with many angels, in the
Chapter House of the Consolata.
PARENTING, Bernardino, who lived in the
15th and 16th centuries, is thought to have belonged
to the Benedictine Order, to have taken the name
of Lorenzo, and to have died at Vicenza in 1531.
He was an imitator of Squarcione, and his earliest
production is a Religious Allegory in the Gallery
of Modena, representing the Saviour carrying His
Cross, St. Jerome penitent before a crucifix, and
a kneeling bishop in a landscape. The Doria
Gallery, in Rome, possesses three panels by him,
with scenes from the life of St. Anthony, which
show a Mantegnesque feeling. His latest work
consists of some unfinished frescoes of scenes from
the life of St Benedict, in the cloisters of San
Giustina, Padua.
PARET Y ALCAZAR, Luis, painter, designer,
and etcher, was born at Madrid in 1747. He
received a liberal education, and becoming a scholar
of Antonio Gonzalez Velasquez, he obtained in
1760-6 prizes at the Academy of St. Ferdinand.
Having finished his artistic education, he applied
himself to studying oriental and other languages
and history. Returning to Madrid he became a
252
member of the Academy, and was employed by
Charles III. to paint views of the various harbours
of Spain on the Atlantic coast. He held the post
of vice-secretary to the Academy, and secretary
to a board of architecture for the purpose of exam-
ining works to be constructed at the state expense.
He died at Madrid in 1799. He painted a large
picture representing the ' Estates of the kingdom
taking the oath of allegiance to the Prince of
Asturias, afterwards Charles IV.' According to
Cean Bermudez, his best work was a series of
drawings made by request of Don Gabriel Sancha,
to illustrate ' Don Quixote : ' unfortunately they were
never engraved. He left several etchings and a
few frontispieces for books.
PARIA. See Pebriee, Franqois.
PARIGI, GlULio, a ITlorentine architect, en-
gineer, and designer, was the son of the architect
Alfonso Parigi. ' There are three etchings ascribed
to Giulio by Bartsch and Nagler : ' The Garden of
Calypso,' ' The Temple of Peace,' and a Landscape
after R. Canta-Gallina, who was his scholar. Giuho
died in 1635. His son, Alfonso Parigi, ' the
younger,' etched some plates of opera scenes in the
manner of Canta-Gallina ; also some other theatrical
decorations, one of which represents a ' Dance of
Cavaliers and Ladies.' He was at one time military
engineer, and afterwards architect to the Duke of
Tuscany. He died at Florence in 1656.
PARILLA, Miguel, a painter, was bom at
Malaga about 1620. He was at first only a village
painter, but he afterwards rose to considerable
distinction. He died about 1683.
PARIS, Di. See Alfani.
PARIS, Jean de. See Peereal.
PARIS, Jerome, engraver, was bom at Versailles
in 1744. He was instructed by Longueil, and
engraved several landscapes and views, among
which were :
Views of Provence ; after HacTcert.
Views of Besan^on ; after Zingg.
Views of Dresden ; after the same.
Views of Blois, Nantes, Noyon, etc, ; after Desfriches.
Landscape ; after Van der Meer.
Landscapes ; after Ter Heinpel.
He died about 1810.
PARIS, PlEEBE Adeibn, an architect and archi-
tectural designer, was born at Besanqon, in 1747,
and died in 1819. His architectural designs appear
in ' Le Voyage a Naples,' by Saint Non ; in ' Les
Tableaux de la Suisse,' by Delaborde ; and in works
published by himself: such as ' Recueil de desseins
et etudes d'Architeoture,' nine vols, in folio ; ' Exa-
men des Edifices de Rome,' in folio ; ' Restoration
du Colyss6,' forty-five plates ; and other pub-
1 cations.
PARISE, Feancesco, a painter of Calabria, was
called Cabresello. He studied at Naples under
P, de Matteis, and afterwards went to Rome to
study under Maratti. He painted pictures for
churches, landscapes, and sea-pieces. He died
about 1743.
PARISET, D. P., a French engraver, was born
at Lyons in 1740. He is supposed to have been a
pupil of Demarteau, under whom he learned the
art of engraving in the chalk style. In 1769 he
came to England, where he was for some time
employed by Ryland, and engraved some plates
for the collection of prints from the drawings of the
great masters, published by Rogers. He also
worked for Bartolozzi. The date of his death is
unknown. We have also by him several portraits
Parisinus
PAINTERS AND ENGRAVERS.
Parmentier
after Falconet and others, among them the follow-
ing:
Sir Joshua Reynolds ; P. Falconet del. 1768.
Benjamin "West, with his family ; after West.
Francis Cotes.
William Eyland.
Paul Sandby.
Ozias Humphrey.
J. Meyer.
Oliv. r Cromwell ; after Cooper.
The Death of Admiral de Coligny,
The Death of the Duke of Guise.
PARISINUS, AuGUSTiNUS, is supposed to have
been a native of France, and to have flourished
about the year 1640. He engraved several plates
of book ornaments, which are executed with the
graver ; also, in conjunction with J. B. Coriolano
and Olivier Gatti, a book of emblems by Paul
Macchi, published at Bologna in 1628. There are
also a few landscapes with his mark, a large A.
with a P. beneath it.
PARIZEAU, Philip Lodis, a French engraver,
was born in Paris in 1740 or 1748, and died in
1801. We have by him several etchings after
Salvator Rosa and other masters, among them
the following :
An Assembly of Roman Soldiers ; after Salv. Rosa.
Marias seated on the Ruins of Carthage ; after the same.
The Martyrdom of St. Andrew ; after Deshayes.
The Martyrdom of St. Bartholomew ; after the same.
Psyche refusing the Honours of Divinity ; after Boucher.
PARK, Thomas, an English engraver, born in
1760. His works are in mezzotint, and were pro-
duced in the early part of his career. After 1797
he devoted himself to literature and to antiquarian
pursuits. Amongst his plates are :
Hon. Lincoln Stanhope ; after Sir J. Reynolds. 1788.
Dr. Thomas, Bishop of Rochester ; after the same. 1788.
Miss Penelope Boothby ; after the same. 1789.
Holman and Miss Bruuton as Romeo and Juliet ; after
Browne.
Mrs. Jordan as the Comic Muse ; after Hoppner. 1786.
Lord Henry Fitzgerald ; after the same.
PARKER, Feedeeick, an English wood engraver
of nmch promise, who died young in 1847.
PARKER, James, an engraver, was born in
1750, and was a pupil of Basire. He was one of
the engravers employed by Boydell in his ' Shake-
speare : ' eleven of the plates are by him. He also
engraved •' The Revolution of 1688 ; ' ' The Novel ; '
and ' Yoriok feeling the Lady's Pulse, ' after North-
cote ; ' The Commemorations of the 14th of Feb-
ruary and the 11th of October, 1797,' after Sniirke ;
several of the plates for Flaxman's illustrations of
Homer's Iliad ; for the ' Vicar of Wakefield ' (1792),
after Stothard ; and for Falconer's ' Shipwreck '
(1795). He was one of the founders, and a
governor, of the Society of Engravers. He died
in 1805.
PARKER, John, was an historical and portrait
painter, and was born in England about 1730. He
resided several years in Rome, where he displayed
sufBcient ability to be employed to paint an altar-
piece for the church of San Gregorio, on Monte
Celio, representing St. Silvia. He returned to
England about the year 1762, and was an exhibitor
at the Society's Rooms, in the Strand, in 1763,
where he had two pictures. The subject of one
was 'The Assassination of David Rizzio ; ' the
other, his own portrait. He did not long survive
his return to England, but died at Paddington
about the year 1765.
PARKER, JouN, landscape painter, was for
some time a student in the Duke of Richmond's
Gallery, and received some instruction from the
Smiths of Chichester. He was at Rome about
1768, but had returned to England by 1770. He
exhibited at the Academy in 1771, and again and
for the last time in 1776.
PARKES, David, an English draughtsman, born
at Hales Owen in 1763. He was a schoolmaster,
and made sketches of antiquarian interest, some
of which appeared in the 'Gentleman's Magazine.'
He died at Shrewsbury in 1833.
PARKES, JAMES,an English draughtsman, theson
of D. Parkes, was born in 1794. He taught draw-
ing at Shrewsbury. Twelve etchings of antiquities
in Shrewsbury by him were published in the year
after his death, which took place in 1828.
PARKINSON, Thomas, an English portrait and
subject painter, in the second half of the 18th
century. He had considerable practice in theatrical
subjects, and exhibited at the Academy from 1775
to 1789. Amongst his works are :
Scene from ' She Stoops to Conquer.' 1775.
Scene from ' Cymon.' 1775.
Scene from ' The Duenna.' 1776.
Garrick as Macbeth.
Mrs. Bradshaw as Dorcas. Garrick Club, London.
Palmer and Reddish in ' Cymbeline.'
Some of his pictures have been engraved.
PARMA, Battista Pensieki da. See Pau-
MENSIS.
PARMA, CKiSTOEoro da. See Caselli.
PARMA, Danielk da. See Porei.
PARMA, Fab. Andrea da. See Parmigiano.
PARMANTIO, Jacques. A painter of this name,
of French extraction, lived at the end of the 17th
century at the Hague, where he painted some
ceilings in the Binnenhof.
PARME, JuLiEN Di. See Julibn, Simon.
PARMEGIANO (or Paemegianino). See Maz-
znoLA, Feancesco.
PARMENSIS, Battista Pensieei, (or da
Paema,) an Italian engraver, was born at Parma
in the former part of the 16th century, and worked
from 1638 to 1601. He chiefly resided at Rome,
where he engraved several plates after various
masters, and from his own designs. He was
patronized by Pietro Aretino, and praised by him
in some of his letters. His prints are executed
with the graver, in a style resembling that of
Cornelis Cort. Among others, we have the follow-
ing by him :
The Portrait of Philip II., King of Spain. 1589.
The Virgin and Infant appearing to St. John; after
Baroccio. Baptista Parmenais fee. 1588.
The Baptism of Christ. Bapt. Parmensis del.
The Chastity of Joseph. 1592.
The Crucifixion, in two sheets ; Bapt. Parmensis for-
mis. 1584.
PARMENSIS, Jacobus. See Caraglio.
PARMENTIER, Jacqoes, called James, was
born in France in 1658. He was a nephew of
Sebastian Bourdon, by whom he was instructed
in art. On the death of Bourdon, he came to
England in 1676, and was for some time employed
by Charles de la Fosse, to assist him in the works
upon which he was engaged at Montague Ho'use.
King William sent Parmentier to Holland, to
ornament his palace at Loo, but he quarrelled with
Marot, the superintendent of the works, and
returned to London. Not finding much employ-
ment on his arrival, he went into Yorkshire, and
was engaged in several historical subjects as well
as portraits. He painted an altar-piece for the
253
Parmentier
A BIOGEAPHICAL DICTIONARY OP
Parrasio
principal church at Hull,, and a picture of ' Moses
receiving the Law,' for St. Peter's church in Leeds.
Hia best performance was the staircase at Work-
sop. He gave a picture of Diana and Endymion'
to Painters' Hall. On the death of Laguerre, in
1721, he returned to London, where he died in
1730.
PARMENTIER, L., engraved a title for the
' Works of Philips Wouwerraan,' with the portrait
of the painter at the bottom, from a design by
J. de la Jore.
PARMIGIANINO. See RoccA, Michelb.
PARMIGIANO, (or Paemigianino). See Maz-
ZUOLA, FeANOESOO.
PARMIGIANO (or Paemigianino). See Scaglia.
PARMIGIANO, GiULio, a battle painter of
Venice, called Ca Geimani, was educated in the
school of P. Monti. He accompanied General
Griraani to the Morea, to make drawings of battles,
which he painted for the Palazzo Grimani at Venice,
He died in 1734.
PARMIGIANO, Fabkizio Andrea, (or da
Parma,) was born about 1555, and flourished at
Rome as a landscape painter in the pontitioate of
Clement VII. In the church of Santa Cecilia in
Ti'astevere, are eight large pictures by him, painted
in fresco, in which, like some of the landscapes by
the Carracci, there is more fancy than truth. He
died in 1600.
PAROCEL. See Pabeocel.
PARODI, DoMENico, (or Paerodi,) was born at
Genoa in 1668. He was the son of Giacomo
Filippo Parodi, an eminent sculptor, who bestowed
on him an excellent education. He acquired the
first elements of design under his father, and for
some time applied himself to the pursuit of
sculpture ; but a partiality for painting prevailed,
and he was sent to Venice, where he entered the
school of Bombelli, and became an excellent
oolourist by studying the works of Tintoretto
and Paolo Veronese. He also visited Rome, where
he attached himself to the manner of Carlo
Maratti. His ' S. Francesco di Sales,' in the
church of San Filippo Neri at Genoa, is in the
style of that master. He further painted ' The
Holy Trinity, with SS. Stephen and Leonard,' in
Santa Vergine delle Vigne, and representations of
the deeds of the Negroni family in their palace in
the same city. He died in 1740.
PARODI, Ottatio, was born at Pavia in 1659,
and was a scholar of Andrea Lanzano. He after-
wards visited Rome, where he studied some years.
On his return to Pavia he executed several works
for the public places in that city, which established
his reputation as a painter of history. He was
still hving in 1718.
PARODI, Pellegeo, a portrait painter, was the
son of Domenico Parodi. He went to Portugal,
and in Lisbon painted portraits of many leading
men. Capinetti engraved after him the portrait
of the Marquis Pombal, and Gregori that of the
Doge Spinola. He died about 1769.
PAROLINI, Giacomo (or Giacomo Filippo), was
born at Ferrara in 1663. His father dying when
he was only five years of age, he was taken under
the protection of a maternal uncle, who perceiving
his disposition for art, pi aced him with the Cavaliere
Peruzzini at Turin, with whom he remained until
he was sixteen, when he visited Bologna, and
entered the school of Carlo Cignani. He returned
to Ferrara in 1699, and finished some pictures
left imperfect by M. Aurelio Scanuavini, who had
254
been his fellow-student under Cignani. He was
successful in the design of his female figures and
children, and his bacchanals and festive dances
remind us of Albani. His pictures of those
subjects are to be found in almost every collection
in Ferrara. Of his historical works the most
considerable are, the 'Last Supper,' in the cathedral
at Ferrara; and a fresco representing 'St. Sebastian
with a glory of angels,' in the church dedicated to
that Saint at Verona. He was the last eminent,
painter of his country, and "with him," says
Lanzi, " was buried the glory of the Ferrarese
school." He died at Ferrara in 1733.
PAROLINI, Pio, was, according to Titi, a
native of Udine, though he chiefly resided at
Rome, where he was received into the Academy in
1678. He painted an allegorical subject on the
ceiling of'one of the chapels in San Carlo al Corso.
PARONE, Francesco, was born, according to
Baglione, at Milan, near the end of the 16th
century. He was the son of an obscure artist ;
but at an early age he visited Rome, where he
had the good fortune to be taken under the
protection of the Marquis of Giustiniani, who
enabled him to study the works of art in his own
collection and elsewhere. In the church of the
monastery of San Romualdo, is an altar-piece by
him, representing the ' Martyrdom of a Saint.'
Parone died at Rome in the prime of life, in
the year 1634.
PAROY, Jacques de, glass painter, was bom at
Saint Pourcain sur Allier, Auvergne, towards the
end of the 16th century. He studied in Rome
under Domenichino. He painted the choir windows
in St. Mdry, Paris ; he designed the story of
Susanna for another set of windows in the same
church, and also the four ' Fathers of the Church.'
Paroy died at the end of the 17th century, aged 102.
PAROY, Jean Philippe Gdt, a French painter
and engraver, was born in Brittany in 1750. In
his youth he showed great talent for art, in spite
of the opposition of his father. In 1800 he
produced his engraving of the ' Modern Antigone,'
which had great success. He wrote a Iiistory
of the Royal Academy of Painting, and other
works. He died in 1822.
PARR, Remi, (or Eemigiits,) an architectural
designer and engraver, was born at Rochester
in 1723, and in 1737 published a View of London
from Westminster Bridge, with other plates of a
similar kind. He was, however, chiefly employed
by the booksellers in portraits, book-plates, and
humorous subjects. He was still living in 1750.
Among others, we have the following engraved
portraits by him :
Maria Louisa, daughter of Charles II.
John Fisher, Bishop of Eochester.
, "William Becket, prefixed to his Ohirurgical Observations.
1740.
PARRASIO, Angelo, a Sienese painter, who was
employed at the court of the Marquis Leonello
d'Este, in thtfmiddle of the 15th century.
PARRASIO, MiOHELE, a painter of the 16th cen-
tury, was a pupil of Titian and of Paolo Veronese.
He was a man of wealth, and continued through
life in intimate correspondence with Titian. There
remain by him :
Madrid. Esconal. The Marys at the Sepulchre.
„ „ Adoration of the Kings.
I. Museum. The Dead Christ adored by
Pius V.
Venice. Academy. Deposition from the Cross.
J, ), Male Portrait.
Parre
PAINTERS AND ENGRAVERS.
Parrocel
PARRE, Mathieu, a Dutch painter of the present
century, who was at work in Amsterdam from 1811
to 1849. He was a pupil of J. Van der Stok.
PARREU, Jos^, was born at Rusafa, Valencia,
in 1694. He was a pupil of D. Vidal, and executed
several works for the churches in Valencia. He
died in 1766.
PARRHASIUS, the younger contemporary and
rival of Zeuxis, was a native of Ephesus, and a
disciple of Euenor. He was in the fulness of his
reputation about 400 B.C. According to Pliny, he
was the first who arrived at perfect symmetry in
the proportion of his figures, and Quintilian terms
him " the legislator of art," from the canon which
he established on this point having been accepted
by succeeding artists. He gave to his forms more
relief and roundness, more life and motion, than
were known before his lime. He was also par-
ticularly successful in the treatment of the hair,
and in the expression of his female figures. This
characteristic he carried so far as to impart to his
pictures some of the soft and sensuous quality of
the Asiatic school, and this not to the female
figures only, for Euphranor remarked that the
"Theseus' of Parrhasius had been fed on roses,
while his own was fed upon beef. The painter,
moreover, was voluptuous in his own habits, and
used to add to his signature the epithet, aPpoSiaiToc,
' the luxurious.' Parrhasius was remarkable, too,
for vanity and arrogance. He styled himself the
prince of painters, and asserted that he had carried
the art to the highest possible perfection. He
was always clothed in sumptuous attire, and
claimed to be descended from Apollo. He pre-
tended to have painted Plercules from a revelation
of his form in a vision ; and when defeated by
Tiraanthes in a contest for a picture upon the
' Strife of Ajax and Ulysses,' he declared that
Ajax was a second time overcome by an unworthy
rival. The story versified by the American poet
Willis, of his putting a slave to the rack in order
to furnish himself with a model for the expression
of intense agony, whether it be founded upon fact
or not, is too much in accordance with his nature :
" I'd rack thee though a thousand lives were thine ;
What were ten thousand to a fame like mine ! "
Notwithstanding these serious personal defects,
Parrhasius cannot be denied the glory of having
been one of the most accomplished painters of
Greece. The well-known story of Pliny in refer-
ence to the contest between him and Zeuxis is
related in the article upon the latter artist. One
of his principal works, representing a ' High Priest
of the goddess Cybele,' was afterwards purchased
by the Emperor Tiberius, for sixty thousand
sesterces. Pliny highly commends two pictures
by Parrhasius, one representing a warrior rushing
to the combat, the other a soldier taking off his
armour. His celebrated picture of ' Theseus ' was
in that historian's time preserved in the Capitol at
Rome ; and another representing Meleager, Her-
cules, and Perseus, in one group, was formerly at
Rhodes. Yet another of his most notable produc-
tions was his picture of ' The Athenian People,' in
which he appears to have icaught and expressed
all the varying modes and passions of the populace.
Some of his subjects were lascivious.
PARRHASIUS (of Antwerp). See ScHoonjans.
PARRIS, EDMnND Thomas, portrait and historic-
al painter, was born in 1793. He first exhibited
at the Royal Academy in 1816. From 1825 to
1829 he was engaged in painting the panorama of
London at the Coliseum. In 1838 he was appointed
painter to Queen Adelaide. In 1839 he painted a
portrait of Queen Victoria, and a picture of the
Coronation. In 1843 he won a prize at thp Guild-
hall competition for a cartoon of 'Joseph of
Arimathea converting the Jews.' From 1853 to
1856 he was employed in restoring Sir James
Thornhill's pictures in the dome of St. Paul's. He
died in 1873.
PARROCEL, Charles, the son of Joseph Parro-
oel, was born in Paris in 1688, and was first in-
structed by his father, who dying when he was
only sixteen years of age, he was placed under the
tuition of Charles de ia Fosse, and on leaving that
master, travelled to Italy, where he studied some
years in Rome. On his return to France he ac-
quired considerable reputation as a painter of
battle-pieces, and though these and his hunting-
pieces are inferior to those of his father, they
possessed sufficient merit to procure his reception
into the Academy at Paris, of which in 1745 he
further became professor. He was in the same
year appointed to accompany the king to Flanders,
to depict his victories. Among his best paintings
are those of ' The Turkish Ambassador before and
after his audience in the Tuileries,' now at the
Gobelins. Parrocel has left thirty-seven etchings,
from his own designs, representing horse and foot
soldiers, among them six in the style of Salvator
Rosa. He died in Paris in 1752.
PARROCEL, Etienne, was the son of Pierre
Parrocel. He was bom in Paris about the year
1720, and is stated to have been a painter, perhaps
also an engraver.
PARROCEL, Bakth^lemy, a native of Brig-
nolles, father and first instructor of Joseph Parrocel.
He was of no repute as an artist, and died about
1660.
PARROCEL, Ignace, the nephew of Joseph
Parrocel, was born in Paris in 1668. He was
apparently the scholar of his uncle, as he painted
similar subjects, battles and huntings, and in a
closely similar style. He died in Paris in 1722.
A ' Turkish Battle ' and a ' Field Encampment ' by
him are in the Belvedere of Vienna.
PARROCEL, Joseph, an eminent painter of
battles, was born at Brignolles, in Provence, in 1648.
He was the son of Barthelemy Parrocel, a' painter
of little note, who, together with his elder son
Louis, instructed Joseph in the first elements of the
art. Without the help of any other teaching, the
latter went to Paris, where he obtained the notice of
some distinguished artists, who recommended him
to visit Italy. On his arrival at Rome, he found
the works of Borgognone in the highest estimation ;
and he entered the school of that artist. After a
residence of some years at Rome, he visited Venice,
where he rapidly improved his colour by study-
ing the works of the best Venetian masters. The
encouragement he experienced in Venice led him
to think of establishing himself there, when one
evening he was assailed on the Rialto by several
assassins, posted, it was believed, by persons jealous
of his success, and it was only by his courage and
personal vigour that he escaped. In 1675 he re-
turned to Paris, and immediately met with public
favour. He was made a member of the Academy
the following year, on which occasion he painted
the ' Siege of Maestricht ' for his reception picture.
He was commissioned by the Marquis de Louvois,
to decorate one of the four refectories of the In-
valid es, with the conquests of Louis XIV., and after
255
Parrocel
A BIOGIIAPHIOAL DICTIONARY OP
Partridge
this he was employed on some of the works at
Versailles and Marly. He became one of the
favourite painters of Louis XIV., in whose service
he remained until his death, which occurred in
Paris in 1704. He painted several historical sub-
jects for the H6tel de Toulouse, and an admirable
picture of ' St. John in the Wilderness,' for the
church of Notre Dame de Paris. The Museum of
Lyons possesses a ' Horsemen Resting ' by him.
We have ninety etchings by Parrocel from his own
designs : among which are the following :
The Four Parts of the Day ; J. Parrocel inv. et.fec.
Four Battles ; the same inscription.
A set of forty-eight prints from the Life of Christ.
PARROCEL, Louis, a painter, the eldest son of
Barth^leray Parrocel, was born at Avignon in 1640.
He was instructed by his father, and painted chiefly
historical pictures.
PARROCEL, PiEBRE, nephew of Joseph and son
of Louis Parrocel, was bom at Avignon in 1664,
and died in Paris in 1739. He was first instructed
by his uncle, and afterwards entered the school of
Carlo Maratti at Rome, and in 1730 became a
member of the Academy there. His principal work,
as a painter, was in the gallery of the Hotel de
Noailles, at St. Q-erraain-en-Laye, where he repre-
sented the history of Tobit in thirteen pictures ;
but the ' Coronation of the Virgin,' in the church
of St. Mary at Marseilles, is considered his chef-
d'oeuvre. He also etched and engraved. His
etchings are executed with dexterity and spirit, in
a style analogous to that of A. Rivalz ; but he was
not equally successful with the graver. Of the
fourteen etchings left by him, 'Tlie Triumph of
Amphitrite ' is perhaps the most noteworthy.
PARROCEL, PiEEEE Ignaoe, was born at Avig-
non in 1702, and was at Rome in 1739-40. He
was afterwards director of the school of art there.
He etched thirty-six plates, comprising among
them a series of Bernini's statues.
PARRODI. See Pabodi.
PARRY, William, was born in London in 1742.
He was the son of Parry, the celebrated blind per-
former on the Welsh harp, and received his first
instructions in design in Shipley's drawing-school.
He afterwards studied from the plaster-casts in
the Duke of Richmond's gallery, and became a
pupil of Sir Joshua Reynolds ; about which time he
also entered the academy in St Martin's Lane. He
was considered at that time a very promising artist,
and obtained several premiums from the Society
of Arts, and in 1766 he became a member of the
Incorporated Society of Artists. On leaving Sir
Joshua he was favoured with the patronage of Sir
Watkin Williams Wynn, by whose liberality he
was enabled, in 1770, to visit Italy, where he
remained four years, and among other things he
painted for his protector a copy of Raphael's
' Transfiguration,' at that time in the church of
San Pietro in Montorio. He returned to London
in 1775, and in 1776 was chosen an Associate of
the Royal Academy ; he then exhibited some por-
traits, as he did again in 1778, 1779, and 1788.
Not meeting with the employment he expected, he
removed to Wales, and on the death of his wife,
in 1788, revisited Rome, where he found sufficient
encouragement to induce him, with the help of a
small fortune acquired through his wife, to remain
several years. His ill state of health obliged him
to return to his native country at the commence-
ment of the year 1791 ; but he only survived his
arrival a few days, and died on February 13th.
256
There is a small etching by Parry, prepared as a
ticket for a benefit concert on behalf of his father,
whom it represents playing on the harp.
PARS, Henry, an English draughtsman, born in
1734. He was the elder brother of W. Pars,
A. R. A., and was brought up as a chaser. His
chief claim to remembrance is in connection with
the St. Martin's Lane School, of which he was
master so long that it became known by his name.
He died in 1806.
PARS, William, was bom in London in 1742,
and was educated in the rudiments of art in Ship-
ley's drawing-school. He afterwards frequented
the St. Martin's Lane school, and the Duke of
Richmond's Gallery. He exhibited at the Society
of Arts in 1761, and in 1764 obtained from them
the third premium of twenty guineas, for historic
painting. Shortly afterwards he went as draughts-
man with the expedition sent into Ionia by the Dilet-
tanti Society, with Dr. Chandler and W. Revett
as his colleagues. On this expedition he was ab-
sent over two years, and some time after his return
he was engaged by the second Lord Palmerston,
to accompany him in a tour through Switzerland
and Italy, to make drawings of the most remark-
able views and antiquities. In 1770 he was elected
an Associate of the Royal Academy ; and in 1774
the Dilettanti Society having determined to send
an artist to Rome, for a certain number of years,
upon a pension, to complete his studies as a painter,
Pars was made choice of, and arrived at Rome in
1775. He continued his studies in Italy until the
autumn of the year 1782, when he died of a fever.
He had exhibited at the Royal Academy Constantly
from its establishment until 1776, producing both
small and life-size portraits, as well as drawings
and stained views of temples in Asia Minor and
Greece. Several of the views he made in Greece
have been engraved by Byrne ; and some of
those in Switzerland and Italy were reproduced in
aquatint by Paul Sandby. Woollet also engraved
five Swiss views after Pars.
PARSON, William, an amateur architectural,
landscape, and fruit painter, was born in London
in 1736. His father was a builder, and at fourteen
he was apprenticed to an architect. He afterwards
went on the stage, and became a popular comic
actor, but never relinquished his art. He died in
1795.
PARSONS, Francis, an English portrait painter,
in the second half of the 18th century. He Was
taught in the St. Martin's Lane school, and became
a member of the Incorporated Society of Artists,
In his later years he became a picture-dealer.
Works :
Portrait group of Indian Chiefs who visited London in
1763. Engraved by McArddl.
Portrait of Miss Davis as ' Madge,' in ' Love in a Villige.'
Portrait of Brindley, the Engineer. Engraved, by Bun-
karton.
PARTRIDGE, John, a portrait painter, was born
in 1790. He exhibited at the Royal Academy from
1815 to 1846. In 1843 he exhibited portraits of
the Queen and Prince Albert, which were engraved
and became very popular. Two years later he
was appointed portrait painter extraordinary to the
Queen. For thirty years he held a good position
in the second rank as a portrait painter, exhibiting
for the last time in 1846. On two occasions only,
in 1830 and 1836, did he send a subject picture to
the Academy; these were respectively, 'Titania,
Puck, and Bottom,' and ' A Sketching Society, the
Pas
PAINTERS AND ENGRAVERS.
Fasseri
Critical Moment.' Partridge died November 25,
1872. The National Portrait Gallery possesses a
large picture by him of a meeting of the Fine Arts
Commission of 1841 at Gwydyr House, "Whitehall ;
and the National Gallery of Ireland a portrait of
SirT. Wyse, KGB.
PAS, DE (Pass). See Yan db Pass.
PASADOS, Miguel, a Spanish Dominican monk,
born at Valencia in 1711. He painted historical
pictures, and died in 1763.
PASAROT. See Passerotti.
PASCAL, Antoine, a painter of still-life, and
pupil of Eedoutd. He was at worli at Macon in
the early years of the present century. His wife
followed the same profession.
PASCAL, Joseph Andebas, a miniature painter
of Munich, who flourished in 1729. He painted
portraits and other pictures in miniature for the
Bavarian court. He died in 1758.
PASCALINI. See Pasqualini.
PASCH, LoEBNZ, a painter of Stockholm, was
born in 1733. He painted the Swedish king and
the members of his house and court, and decorated
the royal palace with pictures. He was a professor
and rector of the Academy, and inspector of the
Gallery. He died in 1805. Works:
Stockholm. Gallery. Portrait of the Engineer Daniel
Thuuberg. \Fasch pinxit,
1772.
„ „ Half-length portrait of Gus-
tavus Adolphns IV.
His sister, Priederica Ulrica Pasoh, who was at
Stockholm in 1735, and died in 1796, was also
a portrait painter and member of the Academy.
PASENA, Egg. de. See Van der Weyden.
PASINELLI, LOEENZO,- was bom at Bologna in
1629, and was first a scholar of A. Baroni and
Simone Cantarini, but afterwards studied under
Flaminio Torre, whose school he left at an early
age. He then visited Turin, Mantua, and Rome,
and spent some time at Venice, where the style of
Paolo Veronese exercised great influence over him.
On leaving Venice he returned to Bologna, where
he died in 1700. Among his best paintings are :
' Christ's Entry into Jerusalem,' and ' The Return
of Christ from Limbus,' in the Certosa of Bologna ;
' St. Francis raising a Dead Man to Life,' at San
Francesco in the same city ; and the ' History of
Coriolanus,' in the Palazzo Ranuzzi. We have
the following etchings by Pasinelli from his own
designs :
St. John preaching in the Wilderness.
The Martyrdom of several Saints.
The Murder of the Innocents ; after Guido Eeni.
PASQUALI, FiLlPPO, was a native of Porli, and
a scholar of Carlo Cignani. He flourished about
the year 1680, and in conjunction with Marc
Antonio Franceschini, painted several fresco works
at Bologna and Rimini. There are some of his
paintings in the portico of the Serviti at Bologna :
and Lanzi makes honourable mention of his
pictures in the church of San Vittore, at Ravenna.
PASQUALINI, Felice, a pupil of Sabbatini ;
some of his works are still extant in Bologna and
its neighbourhood.
PASQUALINI, Giovanni Battista, (or Pasca-
LINI,) an Italian painter and engraver, was born
at Cento, near Bologna, about the year 1600. He
frequented for some time the school of Giro Ferri ;
but it does not appear that he arrived at great
eminence as a painter. We have several etchings
by him, principally after Guercino, his countryman,
VOL. II. 8
Si
in which he endeavoured, not very successfully,
to imitate with the point the masterly pen drawings
of that master. The earliest is dated 1619, and the
latest 1630. He frequently signed his plates J. B.
Ceniensis. We have, among, others, the following
prints by him :
St. Felix kneeling before the Virgin and Infant ; after
L. Carracci,
St. Diego working a Miracle : after Ann. Carracci,
The Death of St. Oecilia; after Somenichino.
The Aurora ; after Guido.
SUBJECTS AFTER GUEEOINO.
Christ dictating the Gospel to St. John.
The Resurrection of Lazarus.
Christ giving the Keys to St. Peter.
The Treachery of Judas.
Angels showing Mary Magdalene the Instruments of
the Passion.
Christ with the Disciples at Emmaus.
The Incredulity of Thomas.
The Virgin and Infant, with an Angel presenting Fruit.
The Virgin and Infant, to whom St. John presents an
Apple.
S. Carlo Borromeo.
St. Felix resuscitating a Dead Child.
Tancred and Brminia.
Tithonus and Aurora.
PASQUALINO. See Eossi, Pasquale.
PASQUALINO, an imitator of Bellini and Cima,
who lived in the latter part of the 15th century.
In the Correr Museum, Venice, there is a ' Virgin
and Child, with St. Mary Magdalene,' dated and
signed by him in 1496. Nothing is known of his
birth or death. ,
PASQUALOTTO. See Ottini.
PASQUETTl, Foetunato, portrait and historical
painter, was a pupil of N. Cassana. In 1741 he
was director of the Academy at Venice, and died
about 1770.
PASQUIER, Jean Jacques, a French engraver,
was born in the early part of the 17th century, and
was a pupil of Laurent Cars. He has engraved
several plates after French painters, and a variety
of vignettes and other illustrations for books. We
may name the following by him :
Arion upon the Dolphin ; after JBmcher.
Two Pastoral Subjects ; after the same.
The Graces ; after G. van Loo.
A set of Twelve Academical Figures ; after Natvire.
PASS, DE (or PASS.EUS). See Van de Pass.
PASSANTE, Bartolommeo, a Neapolitan painter
of little note, and a pupil of Spagnoletto.
PASSAEI. See Passeei.
PASSABOTO (or Passaeotti). See Passeeotti.
PASSAVANT, Johann David, a German his-
torical painter, born at Frankfort in 1787. His art
studies were carried on under David, Gros, and
Overbeck. But he chiefly devoted himself to the
literature and criticism of art, publishing works on
Raphael (by which he is best known), engraving,
art in England, &c. He died in 1861. At Frank-
fort there is a portrait of the Emperor Henry II.
by him, and a picture of St. Hubert. We give the
titles and dates of publication of his books :
' Kunstreise durch England und Belgien.' 1833.
' Eaphael von Urbino und sein Vater Giovanni Santi.'
1839-57.
' Die Christliche Kunst in Spanien.' 1853.
' Le Peintre Graveur.' 1860—1864.
PASSE, De (Pass). See Van de Pass.
PASSBRI, Andeea, was a native of Como, in
tho Milanese. In the year 1505 he painted in the
cathedral of his native city a picture of the Virgin
surrounded by the Apostles,
257
A BIOGRAPHICAL DICTIONAEY OF
Passeri
PASSERI, Bernardino, (Passari, or Passeeo,)
an Italian engraver, flourished at Rome about the
year 1580. He is doubtfully stated to have been
also a painter, and to have adopted the style of
Taddeo Zuooaro. Among others we have the
following prints by him :
The Holy Family in which the Virgin is attired as a
Bohemiau.
A set of several plates of the Life of St. Bruno.
Several Madonnas, and other subjects.
PASSERI, Giovanni Battista, was bom at
Rome about the year 1610, and is reported by
Lanzi to have been a friend of Domenichino, and a
follower of his style. He was employed by Canini,
in the Villa Aldobrandini, in 1635, and was president
of the Academy of St. Luke, in 1641, when Domeni-
chino died. At the close of his life Passeri entered
into holy orders, and in 1675 obtained a benefice
in the college of Sta. Maria in Via Lata. He died
in 1679. In the church of San Giovanni della
Malva, at Rome, is a picture by him of the Cruci-
fixion ; but his works are more frequent in private
collections than in public edifices. He sometimes
painted pictures of dead game, birds, &c., of which
there are several in the Palazzo Mattel. In the
Academy of St. Luke there is a portrait of Domeni-
chino, painted by him, and placed there at the death
of his friend, whose funeral oration Passeri pro-
nounced. Passeri was one of the chief Italian
writers on art. His principal work is entitled
' Vite do' Pittori, Soultori, e Architetti, che hanno
lavorato in Roma, e ohe son morti dal 1641 al
1673.' It was published in full for the first time
in 1772, in Rome.
PASSERI, Giuseppe, the nephew of Giovanni
Battista Passeri, was born at Rome in 1664, and,
according to Pasooli, was a favourite disciple of
Carlo Maratti, of whose style he was one of the
most successful followers. His principal works at
Rome are his picture of the Conception, in the
church of San Tommaso in Parione ; and one of
the wings to the picture of the Baptism, by Maratti,
in the Vatican, in which he has represented St.
Peter baptizing the Centurion, which was executed
in mosaic, and the original placed in the church of
the Conventuali at Urbino. At Pesaro there is
one of his best works, representing St. Jerome
meditating on the Last Judgment. Passeri died in
1714.
PASSBROTTI, Bartolommeo, (or Passarotti,)
was born at Bologna about the year 1520 or 1530.
He was first a scholar of Qiacomo Baroccio da
Vignola, but afterwards he became the disciple
and coadjutor of Taddeo Zucoaro, at Rome, where he
resided in the early part of his life. For the public
buildings here he painted some pictures of which
the most esteemed is the Martyrdom of St. Paul, in
the church of San Paolo alle Tre Fontane. On his
return to Bologna he painted a great number of
altar-pieces for the churches, of which the most
celebrated are the Adoration of the Magi, in San
Pietro ; the Annunciation, in San Martino Mag-
giore ; and the Virgin on a throne, surrounded by
St. John the Baptist and other Saints, in San
Giacomo Maggiore. The last-named was painted
in competition with the Carracci, and excited their
admiration. He died at Bologna the 3rd June,
1592. His works are very unequal, as he frequently
sacrificed correctness and refinement to his desire
of gain and to the indulgence of an uncommon
facility of hand. He was the founder of a respect-
able academy at Bologna, and counted among his
258
Fassini
disciples, Francesco Vanni, Agostino Carracci, and
other distinguished artists. He particularly ex-
celled in portrait painting. Among the personages
whom he portrayed were Popes Pius V., Gregory
XIII., and Sixtus V., and Cardinal Guastavillani.
Bartsch, who speaks highly of his ability as a
designer with the pen, and of the freedom and
boldness of his work with the burin, mentions the
first fifteen of the following etchings :
The CShastity of Joseph ; aper Farmigzano.
The Visitation ; after F. i'aiviati.
The Virgin, with the Infant and St. John, marked
F.F.
A similar subject with the letters B. P.
The Virgin sitting on the ground, with the Infant
Jesus on her knees ; signed jS. Pasarot.
Jesus Christ holding a banner ; B. Pasarot. This and
the five following are supposed to be part of a suite
of thirteen, representing Christ and Tola Apostles.
St. Peter, with the letters B. P.
St. Andrew. B. Pasarot.
St. John the Evangelist. B. Pasarot.
St. Bartholomew. B. Pasarot.
St. Paid, with the letters B. P.
Eeligion, represented by a woman seated in the son ;
signed B.
Painting, represented by a young Female with Wings ;
with the letters B. P.
A young Woman in Bed. B. Passaroto, written back-
wards, the letter B. reversed and joined to the P.
A Sacrifice, in which there are eight figures. The
letters B. P. on the left at bottom.
A Charity, mentioned by Gori.
The Marriage of Isaac and Eebecca; after Perugino;
mentioned by Post.
A Holy Family, doubtful.
St. Peter delivered from Prison by an Angel, marked
B. P. ; mentioned by Zani.
PASSEEOTTI, TiBUEZio, the eldest son and the
disciple of Bartolommeo Passerotti, was bom at
Bologna in 1575. He painted history and por-
traits, in the style of his father. Of his works in
the public edifices at Bologna, the following are
the most deserving of notice. In the church of
Santa Maria Mascarella, a picture of the ' Assump-
tion ;' in Santa Cecilia, ' St. Francis and St. Jerome
kneeling before the Virgin ; ' in Santa Cristina,the
' Annunciation ; ' and in San Giacomo Maggiore, the
' Martyrdom of St. Catharine,' his best performance.
He died at Bologna, in the prime of life, in 1612.
Zani calls him an amateur.
PASSEROTTI, Ventura, the fourth son of Bar-
tolommeo Passerotti, was born at Bologna about
1586. He was instructed by his father, and assisted
by his brother Tiburzio. He, however, chiefly
delighted in making pen drawings. His practice
as a professed painter was confined to portraiture,
in which he won much success. There is no account
of any public work by him. He died in 1630.
PASSIGNANO, IL. See Cbesti.
PASSINI, JoHANN, engraver and painter, was
born at Vienna in 1798 or 1799, and studied at the
Academy there under Seipp, and afterwards under
J. G. Mansfeld. He was a member of the Academy
of Vienna, and professor in the Ober Eealschule
at Gratz. His death occurred at Gratz, on January
14th, 1874. He painted landscapes in oil and
aquarelle, but was best known by his engravings,
many of which are in Pezzel's ' Sketches of
Vienna,' and Liohnowsky's ' Memorials of Old Ger-
man Architecture.' Besides these we may name
the following :
' La Notte ' ; after Correggio.
The Imperial Family ; after Fendi.
Fa.ssot
PAINTERS AND ENGRAVERS.
The Two Foscaris; after Mayez.
The Crucifixion ; after Tintoretto.
The Guardian Ajigel ; after Kadlik.
Croatian Peasants ; after Klein,
Keturning Home in the Storm ; after Gauermann.
Charles T.; after Titian.
The Repose or the Holy Family; after Guido Beni.
Eio Janeiro, two plates ; after Ender.
PASSOT, Gabriel Aristide, miniature painter,
was born at Nevers about 1798. He was taught
successively by Madame de MirbeI,Dubufe the elder,
and Frdderic Millet. He died in 1875. Among-
his works we may name the following :
Portrait of Eossini.
„ Lamartine.
„ Dupin.
„ Giulia Grisi.
J, Le Due de Bassano.
„ Prince Kapoleon.
„ Napoleon III. and the Empress Eugenie ;
after Winterhalter.
„ Napoleon I.
„ Queen Horteuse ; after Gerard.
Lady playing the Harp.
AVoman bathing.
After the Bath.
PASTI, Matteo, (Pasting, Pasto, De Pastis,
or De Pratis,) an Italian artist. He was a native
of Verona, and flourished from 1446. He was
a wood-engraver, a painter in miniature, a sculptor
in bronze and marble, a medallist, and a gem
engraver. Neither the year of his birth nor of his
death is correctly ascertained. He worked in the
above year upon the Breviary of the Marohese
leonardo da Ferrara, and executed a set of prints
for a folio volume, entitled ' De Re Militare,' by
R. Valturius, which was published at Verona in
1472. In that he signed his work : 0 M D P V
(Opus Matthcei de Pastis Veronensis).
PASTILL, J. DE, was a French engraver, who
appears to have been chiefly employed in copying
the prints of other artists. Among other plates
we have the ' Murder of the Innocents,' from the
engraving by Louis Audran, after Le Brun.
PASTORINI, Benedetto, was an Italian en-
graver, who resided in London in the latter part
of the 18th century, and was one of the governors
of the Society of Engravers, founded in 1803. He
engraved some plates in imitation of the style of
Bartolozzi, and with his assistance. We have,
among others, the following by him :
L'AllegTO; Angel. Kauffman pivjs. B. Fastorini fee.
n Pensieroso ; the companion.
A View of Loudon ; from his own design.
Guntherus and Griselda ; J. F. Btgaud pinx. B. Fasto-
rini fee.
Griselda returning to her Family ; the companion.
PASTORINI, J., a miniature painter, born in
1773. He exhibited at the Royal Academy from
1812 to 1826, and died in London in 1839.
PASTOBINO, Giovanni Miohele, a glass painter
and medallist of Siena, who worked frequently
from designs furnished by Pierino del Vaga. In
1649 he painted the ' Last Supper ' on glass in the
cathedral of Siena. In this art he is said to have
been taught by Claude of Marseilles.
PASTURE, RoGiER DE la. See Van dee Weyden.
PATANAZZI, a painter whose " vigorous brush
and consummate powers of invention " are extolled
in the ' Galleria de' Pittori Urbinati.' He was
probably a pupil of Claudio Rido'lfi.
PATAROL, Laweence, engraved some book
illustrations, among which was a frontispiece for a
book on coins, published at Venice in 1702.
S 2
Patel
PATAS, Jean Baptiste, a French designer and
engraver, was born iu Paris in 1744 or 1748, and
died in 1817. He engraved some of the plates for
the ' Galleries ' of Florence and Orleans, the ' Mus^e
Fran9ai8,' the ' Cabinet Poullain,' and other works
of the same class ; also several small plates after
various French painters, and from his own designs ;
among which are the following :
The Judgment of Paris ; after Queverdo.
The dangerous Model ; after the same.
Henry IV. permitting Provisions to enter Paris whilst
he was besieging it ; after Careme.
An allegorical subject on the Accession of Louis XVI.
to the Throne of France ; from his own design.
PATAVINUS. SeeOTELLO.
PATCH, Cozens. At Petworth there is a picture
by this artist, in the style and of the same period
as Hogarth.
PATCH, Thomas, was an English engraver, who
flourished about 1770. In that year he engraved
a set of twenty-six plates, from the frescoes in the
Branoacci Chapel ; a series of caricatures and two
landscapes after Poussin were published in 1768-70.
He worked also after Giotto, Prb Bartolommeo,
and other old Italian masters. He practised land-
scape and figure painting to some slight extent,
and two pictures by him are at Hampton Court,
a 'View of the Arno, Florence, by Day,' and a
view of the same place by Night. Patch went to
Italy with Sir Joshua Reynolds, and probably died
there after 1772.
PATEL, the name of two French landscape
painters, father and son, who flourished in the 17th
century. But little is known of them. Beyond
the fact that some of the earlier pictures which are
assigned to the father are signed ' P. Patel,' and
that some later works assigned to the son bear
a monogram before the surname, composed appar-
ently of the letters A. P. T., their Christian names
are unknown.
The elder painter, who is generally known as
' Patel le pere,' appears to have been born in
Pioardy, shortly before the year 1620. It is sur-
mised that he, like many of the French artists of
his time, owed his training to Vouet, and that he
completed his art education by a visit to Italy.
The latter surmise is founded on the fact that
several of his works are evidently inspired by
scenes in the neighbom-hood of Rome. It is also
stated that he painted the landscape backgrounds
in some of Le Sueur's pictures. With greater
certainty he is included amongst the illustrious
band of painters who in 1649 were engaged on the
decorations of the mansion of the President Lam-
bert de Thorigny on the Island of Notre Dame in
Paris. His brush was also employed in decorating
the apartments of Anne of Austria in the Louvre.
He was received into the Guild of Master Painters
in 1635, and became a director in 1660. In the
following year he was one of the elders who signed
the agreement amalgamating the Guild with the
newly-founded Academy. His death occurred in
Paris on the 6th August, 1676. The elder Patel
ranks amongst the most able imitators of Claude
Lorrain, whose aerial effects he imitates with con-
siderable success. Like his model he delights in
the ruins of ancient architecture, which form a
prominent feature in his compositions. Not many
pictures have survived under his name. This is
due to two causes. First, that he probably executed
but few easel works, owing to his having been
much employed on decorations. Second, that many
259
Patenier
A BIOGEAPHICAL DICTIONARY OF
Patinip
of his pictures have doubtless been passed ofE
under the greater name of Claude.
Concerning the younger painter, ' Patel le fils,'
even less is known than concerning his father,
with whom he is often confounded. He appears
to have been born shortly before the middle of
the 17th century, as it is expressly stated that he
assisted his parent in the decoration of the apart-
ments of Anne of Austria. He is also said to have
painted twelve pictures representing the months,
for the church of St. Louis-la-Culture, in Paris,
four of which are now in the Louvre. His career
was prolonged to the beginning of the 18th century,
as there are two pictures at Marseilles bearing his
monogram, which are dated 1705. He was killed
in a duel : hence he is by some writers called
' Patel le tw,' which cognomen is sometimes wrongly
applied to his father. Two etchings by him are
known, described by Dumesnil as ' Architectural
Ruins ' and ' View of a Forest.' His art is not
equal to that of his father, whose style he followed
slavishly.
The following is a list of pictures by the two
Patels. It is frequently doubtful whether a work
should be ascribed to the father or to the son. In
the cases in which some degree of certainty exists,
* is placed against the pictures of the elder, and +
against those of the younger painter.
Aix. Musmm. The Finding of Moses, f
Avignon. „ Landscape.
Basle „ Landscapes (2).
Besanqon. „ Landscape.
Caen. „ Landscape.
Cherbourg. „ Two Landscapes.
Marseilles. „ Landscape: Morning (1705).+
„ „ Landscape : Sunset (1705). t
MontpeUier. „ Cephalus and Procris.
Kautes. „ Stag-hunt.
„ „ Landscape.
Orleans. „ Two Landscapes.
Paris. Louvre. Jochabed exposing Moses
(1660). *
„ „ Moses burying the Egyptian
(1660). *
„ „ Two Landscapes. *
„ „ January, Snow scene (1699). t
„ „ April (1699). t
„ „ August, ■ arvest (1699). t
,1 „ September, Harvest (1699). t
„ „ Landscape, Harvest (170...). t
Petersburg. Rermitage Christ and the Centurion. *
„ „ Two Landscapes. +
Eennes. Museum. Euins by the Sea.
„ „ Two Landscapes.
Valenciennes. „ Landscape with 'Water-mill.
„ „ Landscape with Castle.
Vienna. Archduke 1 -r ■,
Alirechfs Gallery, j Landscape.
A BenoIt Nicolas Patel, a painter of the 18th
century, was of the same family, but very little is
known about him.
PATENIER. See Patinir.
PATER, Jean Baptists Joseph, a French
painter oifHes galantes, was born at Valenciennes
on the 29th December, 1696. He early showed
artistic predilections, and his father, a sculptor,
having grounded him in the first principles of art,
sent him, while still young, to continue his studies
in Paris. There he became a pupil of his fellow-
countryman Watteau, but the difficult tempera-
ment of the master caused a separation. When,
however, Watteau felt his end approaching in 1721,
he sent for Pater to come to him at Nogent-sur-
Marne. For a short time the pupil painted daily
under the eye of the master, receiving his latest
inspiration. This instruction thoroughly imbued
260 5 J 1
him with the spirit of the chief of his school, and
he ever gratefully acknowledged his obligation.
In 1728, he was received into the Academy as a
member of the new class of 'peintres de sujets
modemes.' There are but few incidents to record
in the short career of Pater. He did not cultivate
friendships, and rarely went out of his studio. His
time was entirely devoted to art : the whole day
was occupied in painting, and the evening brought
no relaxation to his labours. This feverish industry
was caused by an ever-haunting fear of poverty,
which led him to stint himself to provide for his
latter days. His health at length gave way under
such a strain, and he died in Paris in 1736, before
he could enjoy the provision which he had laid up.
Pater was a good oolourist, but his drawing is
without the precision of Watteau, and his handUng
often soft and woolly. He followed Watteau not
only in choice of subject, but also in composition.
The following are some of his more accessible
works :
Women Bathing.
„ „ Bal Champetre.
Cassel. Gallery. The Guitar Player.
,> „ Young Lady with Veil.
Dresden. Gallery. F^te Galante.
Edinburgh. l^at. Gal. Women Bathing.
Fontainebleau. Palace. Chinese Hunting Scene.
Glasgow. Corporation 1 Picnic.
Gallery. J Carnival at Versailles.
London. Kensington } „• , «, ..
Kantes. Museum. Fete Galante.
,> „ Kepose au Jardin.
New York. Metr^^olitan^ | The Comical Maxch.
Paris. Louvre. Ffite Champdtre (1728).
Stockholm. iVai. Gal. Young Girls Bathing.
Valenciennes. Museum. Portrait of the Painter's Sister.
„ „ The Nest of Turtle-Doves.
Versailles. Grand ) The Bath.
Trianon, J Fishing.
„ „ &c. &c.
The gallery of Sir R. Wallace also includes some
excellent examples.
PATICINA. See Adlek, Philip.
PATIGNY, Jean, a French engraver, flourished
from 1650 to about 1670. He executed a few
plates, in which he appears to have imitated the
style of Agostino Carracci, but with little success.
A print of the ' Virgin and Infant Christ, with St.
John,' after Annibale Carracci, may be named.
PATIN, Jacques, was painter in ordinary to
Henry III. of France, and to his Queen, Louise de
Lorrain. He was employed by the Queen to
paint the scenes for a masque, or ballet, given by
her on the marriage of her sister Marguerite de
Vaudemont with the Duke de Joyeuse, in 1581,
on which occasion the king's valet-de-chambre,
Baltazarini Beanjoyeux, prepared the book. This
book is illustrated with twenty-seven etchings by
Patin.
_ PATINIR, Joachim D., (or Patiniee,) was born
either at Dinant or at Bouvignes, on the opposite
bank of the Meuse, about 1490. He became a
member of the Antwerp Guild of Painters in 1516.
He contracted a first marriage with Fran^uise Buyst,
and a second, in 1521, with Jeanne Noyts. At this
second marriage Albrecht Durer was present; he
saw Patinir's work with admiration, and he drew
his portrait. Patinir must have died before the
5th October, 1524, because on that date his widow
and children sold the house he had bought on the
30th March, 1619. Patinir left a son, Eerbi
Patinie, who also devoted himself to painting, but
Paton
PAINTERS AND ENGRAVERS.
Pauditz
with slight success. Patinir has heen called the
inventor of landscape painting so far as the North
is concerned, but that is an exaggeration. It
would be truer to say that he was the first Fleming
to make his landscapes distinctly more important
than the figures with which they are peopled.
His style may be placed between those of Gerard
David and of Jerom Bosch. His pictures are not
numerous, but most of the important galleries have
good examples to show. Among these we may
name :
Antwerp. Museum. The Flight into Egypt (^signed
Opts. Joachim. D. Patinie,
in a cartouch) .
{This same gallery possesses two
pictures on wJiich JPatinir is
said to have collaborated with
Bernard van Orley.)
Berlin. Musemn. A ' Eiposo.'
„ „ Conversion of St. Hubert
(formerly ascribed to Herri de
Bles).
Brussels. B. Museum. A ' Mater Dolorosa ' {the land-
scape by Patinir; the figures
perhaps by another hand).
Darmstadt. Museum. Virgin and Child in a landscape
(formerly ascribed to Mostaert
and to Herri de Bles).
Glasgow. Corp. Gall. Virgin and Child in a landscape,
with rich architecture.
Haarlem. Museum. History of Tobias.
Lille. „ St. John the Baptist preaching.
London. Nat. Gall. The Crucifixion.
„ „ St. Christopher carrying Christ.
ji „ St. John on the Island of
Patmos.
» „ The Visit of the Virgin to St.
Elizabeth.
I) „ The Flight into Egypt.
,, . ,, A Nun (?).
Madrid. Mus'um. A ' Biposo ' {three versions).
,) „ Landscape with St. Jerome.
n „ The Temptation of St. Anthony
(a masterpiece).
,1 „ Paradise and Hell.
>, „ St. Francis of Assisi and another
monk of the order in the
Desert (? van Eyck).
Munich. Gallery. Christ on the Cross {leith u
forged inscription).
Vienna. Belvedere. The Baptism of Christ.
)) ), Landscape with the Martyrdom
of St. Catherine
» u The Flight into Egypt [tim
versions).
n „ St. Jerome.
» I, The Battle of Pavia. {As the
battle was fought the year after
Patinir died, according to the
dates we have given, the picture
must either be wrongly Tiamed
or cannot be his work.)
„ Liechtenstein Col. Christ on the Cross.
II n St. Jerome in a landscape, with
his Lion (with the forged sig-
nature KviNTEN Masts 1513).
PATON, (or Patton,) David, a Scottish portrait
and miniature painter, who worked with some
success about the middle of the 17th century. A
portrait of General Thomas Dalzell, still in the
possession of the Dalzell family, is ascribed to him.
PATON, Richard, an English painter of marines
and combats by sea, was born in London in 1717.
He was found in the streets as a poor boy by
Admiral Knowles, and by him sent to sea. He
exhibited largely at the Royal Academy from 1776
to 1780. He held an appointment in \he excise
for a great part of his life. He died in London in
1791, His works were very popular, as he painted
most of the great sea-fights that occurred during
his time. Many of them have been engraved by
AVoollet, Pittler, Lerpeniere, and Canot. Among
his paintings we may name :
Engagement of the Monmouth and Foudroyant by
Moonlight {etched by himself). 1758.
Attack upon Gibraltar. 1782.
The Lord Mayor's Show by "Water {Guildhall ; figures
by Wheatley).
Four pictures of Dockyards, at Hampton Court.
We have also a few etchings by him. Among
others, the following :
The Victory gained by the English over the French
21st September, 1757.
The Engagement of the Monmouth and Foudroyant
(as above).
The Engagement between the Buckingham and the
Florissant, supported by two Frigates, 3rd Nov. 1758.
PATOUR, Jean Aughstin, a French engraver,
was born in Paris about the year 1730, and
flourished till 1784. He was a pupil of Halle and
Plipart, and has engraved several plates in a neat
style, among which are the following :
The little Lyar; after Albrecht Siirer.
Le doux Sommeil ; after HalU,
Le doux Kepos ; after the same.
Hercules and Omphale ; after the same.
Two Views of La Roohelle ; after Lallemand.
PATTE, PiEREB, a French architect and en-
graver, was bom in Paris in 1723. He is stated by
Basan to have engraved several plates of architec-
tural ornaments. He also engraved some of the
plates for Blondel's 'Architecture Frangaise ; ' ' Per-
spective Views,' after Piranesi ; and the ' Temple
of Venus,' after Claude. He died in 1812, at
Mantes.
PATTEN, George, an English portrait and
historical painter, bom in 1801. His first instruc-
tion in art was received from his father, a minia-
ture painter. In 1816, he entered the schools of
the Academy, where he first exhibited in 1819.
Up to 1830, he practised miniature painting, after
which he devoted himself to oil portraiture. He
made a tour in Italy in 1837, to study its art
treasures, and in the same year was elected an Asso-
ciate of the Academy. The Prince Consort, whose
portrait he painted in Germany in 1840, appointed
him his portrait painter, and he obtained a large
practice in presentation portraits. His art, how-
ever, did not fulfil its early promise, and he never
reached the front rank. In the latter part of his
life he lived at Ross, Herefordshire. He died in
London in 1865.
PATTON. SeePATON.
PAU DE SAINT MARTIN, Alexandre, a
French landscape painter, bom at Mortagne in the
second half of the 18th century. He studied under
Le Prince and Vernet, and exhibited (chiefly views
in Normandy) at the Salon from 1791 to 1838.
PAU DE SAINT MARTIN, Pierre Alexandre,
a French landscape painter and son of the above,
was born in Paris towards the close of the 18th
century. He studied under his father, and ex-
hibited at the Salon from 1810 to 1834. His
' Entrance of the Elys^e ' was awarded a gold medal
in 1824.
PAUDITZ, Christoph, (Paddiss, Pudiss, Pau-
DiES, &c.,) was born in Lower Saxony about
the year 1582. After receiving some instruction
in designj.from an obscure German painter, he
visited Amsterdam, where he entered the school of
Rembrandt. On his return to Germany he was
taken under the protection of Albert Sigismund,
Duke of Bavaria, in whose employment he re-
261
Fauelsen
A BIOGRAPHICAL DICTIONARY OF
Pauson
mained several years. He was also favoured with
the patronage of the Duke of Ratisbon, and dis-
tinguished himself as a painter of history and
portraits. Sandrart reports that his death was
hastened by his failure in a contest he had ac-
cepted witli a contemporary artist, who had chal-
lenged him to paint a picture in competition.
Although the production of Pauditz was greatly
superior to that of his rival, the decision was
against him, and he did not long survive it. This
occurred at Freising in 1666. Among his best
works may be mentioned :
Augsburg. Oallery. Diogenes aud the Drunken Old
Woman.
Dresden. Gallery. Lady Conversing with a Gen-
tleman engaged in writing.
Freising. Cathedral. Christ clearing the Temple.
Munich. Pinakothek. "Wolf Tearing a Lamb.
Nuremberg. Landau \ ^ ^^ Portrait.
Brotherhood, y
Vienna. Belvedere. St. Jerome.
„ Gsell Coll. Still-life subject.
PAUELSElSr, Betk, painter and engraver, was
born at Bygom, near Viborg, in 1749, and studied
in the Copenhagen Academy, where in 1777 he
won the large gold medal with a 'Judgment of
Solomon.' In 1780-83 he visited France and Italy,
and after his return was received into the Academy
with an ' Allegory of the Union of the three North-
ern Kingdoms ' (1784). After this he travelled in
Norway, and painted views, some of which were
preserved at Frederiksborg Castle. His death
occurred at Copenhagen in 1790, by his throwing
himself from a window in a fit of melancholy. He
painted a few good portraits, some of which he
engraved, together with a few vignettes ; he also
etched ' Canute's Reproof to his Courtiers.' The
following historical pictures were executed by him
in grisaille :
Murder of Canute the Holy in St. Alban's Church
(St. Knud's Church, Odense).
The Priest Madsen bringing news of the Enemy to
Kantzau {engraved by J. G. Preisler).
Anne Colbjornsen in the Parsonage Court of Norder-
houg [engraved by M. Haa?).
Eolf Krage [engraved by the same).
The Royal Gallery of Copenhagen possesses two
genre pictures by Pauelsen.
PAUL, Andmaan, (or Db Paulis,) a Dutch or
Flemish engraver, flourished about the year 1640.
He engraved several plates, among which are the
following :
Peter denying Christ ; after Gerard Segers.
Titian and his Mistress ; after the etching by Van Dyck.
The Tooth-drawer ; after Theodor Moelants.
PAUL, J. S., an English mezzotint engraver,
flourished about the year 1760, and has left a few
portraits, among them that of Mrs. Barry, the
actress, after Kettle ; and Lady Georgiana Spenser
and her daughter, after Reynolds. He also en-
graved a ' Conversation ' piece after Jan Steen.
His plates show much ability.
PAUL, Robert, was probably a native of Scot-
land. He resided at Glasgow in the latter part of
the last century, and studied in the Academy
there. He engraved some views of that city, and
one representing the Cathedral is dated 1762.
PAULINI, Berto di Giovanni, (or Paolini,) an
obscure painter of Citta della Pieve, who flourished
early in the 16th century.
PAULINI, GiACOMO, (or Paolini,) was an Italian
engraver, a native of Naples, who flourished about
1600, and apparently resided at Venice. We have
a few prints by him, among which are the following :
262
St. Peter ; probably from his own design.
A View of the Ponte di Eialto, Venice.
An Alphabet.
PAULINI, PiETEO. See Paolini.
PAULUTY, Zachawe, portrait painter, was born
at Amsterdam in 1600, and died in 1667.
PAULUS, Jacobus. This name is found on part
of an altar-piece in the Santa Croce chapel of San
Giacomo, Bologna. It is of no great merit.
PAULUZZI, Stbeano, a Venetian painter who
enjoyed some repute about the middle of the l7th
century. Lanzi says his pictures had greatly
deteriorated in his time owing to the badness of
his grounds.
PAULY, Nicolas, a miniature painter, was bom
at Antwerp in 1660, and died at Brussels in 1748.
Very little is known of his life.
PAULYN, HoEATins, is introduced by M. Des-
camps among the artists born about the year 1643.
He was a native of Amsterdam, but it is not said
under whom he studied. According to Balkema
he died in 1686. Some of his pictures are in the
manner of Rembrandt. He excelled in painting
convereations and ' gallant ' subjects, but too often
outraged decorum. He affected piety and ex-
hibited all the outward signs of devotion, while
he painted subjects which caused libertines to
blush. At one time he set out for the Holy Land
with a number of companions, but they broke up
en route. In the Uffizi, Florence, there is a picture
by him, ' The Miser.'
PAULYN, IzAAK, called by Lord Orford, Paling,
was born at Amsterdam about the year 1630, and
was a pupil of Abraham van den Temple. He was
an eminent portrait painter, and in that capacity
he visited England in the reign of Charles II.,-
and there resided many years. In 1682 he returned
to Holland, and established himself at the Hague,
where he met with great encouragement, and where
he died. He also painted conversation pieces in
the style of his master.
PAUPELIER, Pierre, a French miniature
painter, was born at Troyes in 1621. He became
a member of the Academy in Paris in 1664, and
died in 1665 (?).
PAUQUET, Jean Louis Charles, engraver, was
born in Paris in 1759. He was instructed by
Gauchet, and engraved after Van Dyck, Le Sueur,
Teniers, Barbier, Moreau, and others. He died
about 1820.
PAUSIAS, one of the ancient Greek painters,
was a native of Sicyon, and was first instructed in
the art by his father, Brietes, but afterwards became
a disciple of Pamphilus. He was the first artist of
antiquity who painted ceilings. He also painted
small pictures, and was particularly successful in
the representation of children. Some of his rival
artists pretended that he made use of those subjects
as best suited to the slow and laboured style of his
execution. To contradict the calumny, and to
prove that he was capable of more spirited exer-
tions, he finished in one day a large picture repre-
senting the infant Hercules, which picture obtained
from this circumstance the title of ij/xep^<nos, "the
day's work." In his youth he became enamoured
of Glycera, the beautiful garland-maker ; and one
of his most admired works was a portrait of his
mistress holding a garland. A copy of this picture
was purchased at Athens, by Lucius LucuUus, for
two talents. Pausias also excelled in painting
animals.
PAUSON, another Greek painter, lived at about
the same time as Polygnotus and Micon. He is
Pautre
PAINTEES AND BNGEAVBRS.
Payne
mentioned by Aristotle. " Polygnotus," says that
philosopher, " drew men more perfect than they
were, Pauson worse than they weie, and Dionysius
such as they were." Whence we may infer that
Polygnotus improved upon ordinary nature, that
Pauson degraded her by a selection of her more
vulgar forms, and that Dionysius contented him-
self with representing her as she usually appears.
PAUTRE, See Lepautee.
PAVESE, El. See Sacchi, Fbancesco.
PA VIA, GiACOMO, was born at Bologna the
18th February 1655, and is said to have been a
scholar of Antonio Crespi. He painted histori-
cal subjects, and was employed in several works
for the churches in his native city ; the most
esteemed being his picture of 'St. Anne teach-
ing the Virgin to read,' in San Silvestro ; and the
' Nativity ' in San Giuseppe. Lanzi states that he
visited Spain. He died in 1750.
PA VIA, Giovanni da. Lanzi ascribes several
pictures in the churches at Pavia to an artist of
this name. He was a pupil of Lorenzo Costa.
PAVIA, Lorenzo da. There is a picture in the
church at Savona signed Laurentius Papiensis.
Its apparent date is about 1560.
PA VON, Ignatius, was a scholar of Raphael
Morgheu. He imitated the manner and copied
several of the fine engravings of his master. The
dates of his birth and death are not known. The
following are his principal works :
Mater Amabilis ; after Sassoferrato.
The Virgin and Infant Christ, with St. John, in a land-
scape; after Raphael; but copied from the engraving
by R. Morghen.
La Madonna del Trono ; after Raphael.
La Madonna di Foligno ; after the same.
La Vierge a I'Oiseau; after the same; copied after R.
Morghen.
The Transfiguration; after the same; copied after R.
Morghen.
The Communion of St. Jerome ; after Domenichino.
St. John Writing ; after the same.
The Magdalene ; after Schidone.
Leda ; after Correggio : and several others after Car-
racci, JF. Foussin, ^c.
PAVONA, Fbancesco, a painter, was born at
Udine in 1682. He was instructed by A. Carnio
and G. dal Sole, and painted portraits and historical
subjects. He travelled through Italy, Germany,
Spain, and Portugal, painting for the different
courts, but settling eventually at Bologna. He died
at Venice in 1773 or 1777.
PAXINO. See Nova, Pecino de.
PAXTON, John, a Scotch portrait and historical
painter, bom in the first half of the 18th century.
He was taught at Foulis's Academy, Glasgow, and
coming to London, became in 1766 a member of the
Incorporated Society of Artists, where he exhibited
as well as at the Royal Academy. He spent some
time at Rome, and finally went to India, dying at
Bombay in 1780.
PAY, Jan van, (or Pet,) a painter of history and
portraits, was bom at Reidlingen in 1589. He was
painter to the Elector of Bavaria, and portraits by
him are to be found in Munich and the neighbour-
hood. He died in 1660 (?).
PAYE, Miss, an English miniature painter, who
was probably the daughter of R. M. Paye. She
exhibited at the Academy from 1798 to 1807, and
appears to have had a fair practice. Among other
people, Mrs. Siddons sat to her.
PAYE, RicHAED MoETON, an English subject
painter, born at Botley, Kent, about the middle of
the 18th century. He was brought up as a chaser,
but his art tastes induced him to become a painter,
and he produced some works which rapidly brought
him into repute. For some time he was on terms
of intimacy with ' Peter Pindar,' but the connection
did not last long, and ended in a quarrel. Paye
was an unfortunate genius. Two pictures of his
are said to have been sold respectively as works of
Velasquez and of Wright of Derby. But his work
did not find a market, and he suffered much from
ill-health. Poverty overtook him, and he sunk into
obscurity. He is believed to have died in 1821.
Many of Paye's pictures were engraved by J.
Young, who was a friend of his ; Valentine Green
engraved his ' Child of Sorrow,' and three others,
while he himself engraved ' Puss in Durance/. and
' No Dance, No Supper.'
PAYEN, Antoine A. J., a Flemish landscape
painter, born at Tournai towards the close of the
18th century. He resided for a long time in the
East Indies. He obtained the prize for landscape
in 1815 at Brussels. Amongst his pictures are :
Brussels. Museum, Landscape: moonlight.
Haarlem. Museum. Views in Java.
PAYNE, John, an English engraver, was born
about the year 1607. He was a disciple of Simon
van de Pass, and is considered the first artist of
this country who distinguished himself with the
burin. Had his application been equal to his
genius, he would have ranked among the first of
his profession ; but he was indolent and dissipated,
and though recommended to King Charles I.,
he neglected his fortune and his fame, and died
in indigence before he was forty, in 1647. He
engraved portraits, frontispieces, and other plates
for books, as well as a variety of other subjects,
such as landscapes, flowers, fruit, birds, beasts,
&c., but his portraits are the most esteemed of his
prints. They are executed entirely with the graver,
in a free, open style, and produce a very pleas-
ing effect. One is dated as early as 1620. In
Evelyn's 'Scultura,' he is commended for his
engraving of a ship, which Vertue informs us was
the 'Royal Sovereign,' built in 1637, by Phineas
Pett. It was engraved on two plates, and when
joined, was three feet long, by two feet two inches
high. The following are his most esteemed por-
traits :
Henry VII., prefixed to his Life by Lord Bacon.
Henry YIII.
Robert DeTereux,Earl of Essex, with a hat and feather.
Sir Benjamin Kudyard ; after Mytens.
Doctor Alabaster ; after Cornelis Jansen.
Hugh Broughton.
Alderman Leate ; after C. Jansen.
Koger Bolton. 1632.
Arthur Lake, Bishop of Chichester.
Sir Edward Coke. 1629.
Algernon Percy, Earl of Northumberland.
George Wither, the Poet, with a hat on, for his ' Em-
blems,' published in 1635.
William Shakespeare.
Ferdinand of Austria ; after Van Dyck.
Count Ernest de Mausfeld.
Elizabeth, Countess of Huntingdon.
PAYNE, William, an English water-colour land-
scape painter, born about 1760. He was in eariy
life employed in Plymouth Dockyard, but having
a love of art, he devoted himself to it. His manner
of painting had originality, and he produced some
good effects of colour. In 1790 he removed to
London, and obtained a good practice as a drawing-
master. From 1809 to 1813 he was an Associate
of the Water-Colour Society, after which there is
263
Faz
A BIOGRAPHICAL DICTIONARY OF
Pearson
no trace of him. There are several speoimens of
his art in the South Kensington Museum.
PAZ, Don Jose, historical painter, was born at
Madrid late in the 17th century. He was of no
importance as an artist, hut held an office under
the Spanish Court.
PAZZI, Maria Magdalbna db, was born at
Florence in 1566. She became a Carmelite nun,
and painted sacred pictures. S. Maria in Cosmedin,
at Rome, possesses one of her works. She died
in 1607.
PAZZI, PiETRO Antonio, an Italian engraver,
was born at Florence about the year 1706, and
died in 1770. He was a pupil of G. Piamontini
and C. Mogalli, and engraved several portraits of
artists for the ' Museo Fiorentino,' Gori's ' Museo ,
Etrusco,' and the 'Museo Capitolino,' as well as
various plates after pictures in the Florentine
galleries. Among others we may name the follow-
ing :
SUBJECTS.
Francesco Albani, Bolognese Painter ; se ipse pinx.
Federigo Baroccio, Painter ; ditto.
Giacomo Bassano, Painter ; ditto,
Giovanni Bizelli, Painter ; ditto.
Andrea Boscoli, Painter ; ditto.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after L. Camhiaso.
The Assumption of the Virgin ; after Raphael.
The Virgin and Christ ; after Van Dyck.
St. Zanobi resuscitating a dead Person ; after Betti.
St. Philip refusing the Popedom,; after the same.
A Sibyl ; after Crespi.
PEACHAM, Henry. In Walpole's ' Anecdotes,'
this man is said to have engraved a portrait of
Sir Thomas Cromwell, afterwards Earl of Essex,
after Holbein. He was the author of a book called
'The Complete Gentleman,' published in 1633.
He was born at South Mimms in Hertfordshire,
and took the degree of M.A. at Trinity College,
Cambridge. He was tutor for a time to the oliildren
of Lord Arundel, whom he accompanied to the
Low Countries. In the course of his life he also
visited Italy. He was an amateur rather than a
professed artist, and was skilled in music as well
as painting and engraving. In his book entitled
' The Complete Gentleman,' and another entitled
'The Gentleman's Exercise,' he lays down rules
for drawing and painting in oil ; for making of
colours, blazoning coats of arms, &o. He died about
1660.
PEACKE, Edward, was an English engraver,
who flourished in the middle of the 17th century.
In conjunction with Robert Peackb, who was
probably his brother, he executed some plates of
friezes, and other architectural ornaments, pub-
lished in 1640.
PEACKE, William, was an engraver and painter
of the time of James I. Strutt mentions him as the
engraver of two portraits of the Earl of Holland
and the Earl of Warwick.
PEAK, James, an English engraver. We have
several plates of landscapes by him, some of which
were engraved for Boydell ; he also etched a few
plates from his own designs. Among others the
following are by him :
A View of 'Waltham Abbey.
Two Landscapes ; after Pillemmt.
Two Views of Warwick Hall in Cumberland, and Ferry
Bridge, in Yorkshire ; after Belters.
A Landscape, with figures ; after Claude.
264
Morning, a Landscape ; after the same.
A Landscape, with Ruins ; «/<«- G. Smith.
A Landscape, wijh a 'Waterfall ; the companion ; after
the same.
Four Views ; after B. Wilson.
Banditti in a rocky Landscape ; after Bcfrgognone.
The Beggars, the companion ; after the same.
PBAKE, Sir Robert, an English painter and
engraver, born about 1690. He was in favour with
the Royal Family, and painted and engraved por-
traits of James I. and Charles I. He fought on
the side of the cavaliers, was present at the siege
of Basing House, and was knighted by Charles at
Oxford in 1646. Amongst his pupils were Fait-
home and Dobson. He died in London in 1667,
and was buried in St. Sepulchre's.
PEALE, Charles Wilson, an American portrait
painter, was born at Chesterton in Pennsylvania,
in 1741. He was apprenticed to a saddler, and
after being successively saddler, harness-maker,
watchmaker, carver, naturalist, and taxidermist,
at the age of twenty-six he took lessons in painting
from Copley, in Boston. In 1770-1 he studied in
London under West, and in 1772 painted the first
picture of Washington, as a Colonel. He painted
the portraits of many distinguished revolutionary
officers. He opened a picture-gallery in Phila-
delphia, and was instrumental in establishing an
Academy of the Pine Arts in Pennsylvania. He
died at Philadelphia in 1827. His eldest son
Raphael, also a painter, died at Philadelphia in
1826.
PEALE, Rembrandt, painter, son of Charles
Wilson Peale, was born in Bucks county, Penn-
sylvania, in 1778. He showed talent as a draughts-
man in early life, and in 1796 he established
himself as a portrait painter at Charleston, South
Carolina. Prom 1801 to 1804 he studied in London
under West, and then went to Paris, where he
painted the portraits of several eminent men. In
1809 he returned to Philadelphia. He there
painted two subject pictures, ' The Roman Daugh-
ter,' and ' The Court of Death,' and many portraits,
among which we may specify those of President
Jefferson, Mrs. Madison, Commodore Bainbridge,
Perry, Decatur, General Armstrong,and the sculptor
Houdon, Peale died in 1860.
PEARCE, William, portrait painter, was bom
in London about the middle of the 18th century.
He painted rustic subjects, and Charles Turner
engraved his ' Milkmaid.' He exhibited at the
Academy in 1798-9. ■''
PEARSON, Mrs. Charles, a portrait painter.
Her maiden name was Dutton. She was bom in
1799. Early in life she married a solicitor named
Pearson, who was afterwards a member of Parlia-
ment. She exhibited portraits at the Royal Academy
from 1821 to 1842, two of them being portraits of
Lord Mayors. Mrs. Pearson died in 1871.
PEARSON, Eqlington Margaret, daughter of
Samuel Paterson, distinguished herself by her skill
in painting on glass. She was the wife of James
Pearson. She painted two sets of the Cartoons,
after Raphael, one of which was purchased by the
Marquis of Lansdowne, and the other by Sir Gregory
Page Turner. There is also another set, but whether
by the husband or wife, or by both, is not certain.
She died in 1823. Her works were various, but
mostly copied from pictures by other masters.
PEARSON, James, a glass painter, was born in
Dublin about the middle of the 18th century. He
learnt his art in Bristol. There are windows by
him at Brasenose College, in Salisbury Cathedral,
Peart
PAINTERS AND ENGRAVERS,
Pee
and in Aldersgate Church, London. Pearson also
painted some designs after James Barry, R.A.
He married the above-named Eglington Margaret,
the daughter of Samuel Patereon, a well-known
book-auctioneer. He died in 1805.
PEART, (or Paert,) Heney, an English portrait
painter, born in the first half of the 17th century.
He studied under Francis Barlow and Old Stone,
and was much employed on copies of pictures in
the royal collections. He died about 1697.
PEAT, T., an English portrait painter, in the
latter half of the 18th century. He was a follower
of Reynolds, and exhibited at the Academy from
1791 to 1805. Much of his work was in enamel.
PECHAM, Georg, (or Peham), painter and en-
graver, was an artist of the Munich school. By
some he is supposed to have been a pupil of
Melchior Pocksberger. We have by him some
etchings, among which are :
Hercules and Antaeus.
Neptune and the Tritons.
Virgin and Child.
View of Gratz.
He died about 1604.
PECCHIO, DoMENico, was born at Verona in
1712, or 1715. He was a pupil of Balestra, and
one of the most famous landscape painters of his
day. He died in 1759.
P^CHEUX, Benoit, son and pupil of Laurent
P^cheux, was born at Rome in 1769. In 1793 he
won the great prize at the Academy of Parma, and
became three years later professor at Turin. The
date of his death is unknown. He painted the
' Assumption ' and the ' Annunciation ' for the
churches of Rouen and Yvetot respectively. He
was the author of ' Iconographie Mythologique.'
PfiCHEUX, Ladebnt, painter and designer, was
born at Lyons about 1740, and came when young to
Paris, whence he proceeded to Rome, and became
a pupil and friend of Rafael Mengs. He was dis-
tinguished by his frescoes in the Villa Borghese,
and was later on made chief painter to the King of
Sardinia, a member of the Academy, and a Knight
of the Order of St. Maurice and Lazarus. He died
at Turin in 1821.
PECHWELL, August Josef, a painter, was
born at Dresden in 1757. He was instructed by
Elutin, and afterwards went to Rome, where he
remained till 1781. He painted altar-pieces and
portraits. He was Inspector of the Royal Gallery
at Dresden. He died in 1811.
PECHWELL, Carl von, a German engraver,
flourished at Vienna in the latter half of the 18th
century. He engraved the portrait of the Emperor
Joseph II., after P. Batoni, and those of several
other German princes ; also the following subjects :
la vieille Amoureuse ; after J. Toormliet.
The Judgment of Paris ; after A. van der Werff, with
a, dedication to the Graces of Europe.
Venus uncovered by a Satyr.
The Eeading Magdalene ; after JP. Batoni^s picture at
Dresden.
The Angry Mother and her Daughter ; after F. delta
Vecchia.
PECINO. See Nova, Pbcino de.
PECORI, DoMENico, was a pupil of Bartolommeo
della Gatta, and a partner of Niocol6 Soggi of
Arezzo. He lived in the 15th century, but no
certainty exists as to the dates of his birth or death.
An ' Adoration of the Virgin ' by him is still in the
Sacristy of the Pieve at Arezzo ; and other works
of his may be found in that city and its environs.
Vasari says he was more skilled in the use of
tempera than in that of oil.
PEDIUS, QuiNTUS, a Roman artist, grandson of
C. Pedius, flourished about twenty j-ears before
Christ. He was dumb, and died young.
PEDONE, Bartolo, an Italian painter, who
worked in the first half of the 18th century. He
painted landscapes, sea-pieces, storms, and night-
pieces. He died in 1735.
PEDRALI, GiACOMO, an Italian perspective and
architectural painter, who flourished at Brescia
from 1630 to about 1660. He was a companion of
Domenico Bruni, and was already dead in the
latter year,
PEDRET. See Padro y Pbdret.
PEDRETTI, Giuseppe Carlo, was born at
Bologna in 1694, and was a scholar of Marc An-
tonio Franceschini. He resided some time in Po-
land ; and on his return to Bologna painted a great
number of pictures and altar-pieces for the churches
and public edifices, of which the most esteemed are
the ' Martyrdom of St. Peter,' in San Petronio ;
' Christ bearing his Cross,' in San Giuseppe ; and
' St. Margarita,' in the Anunziata. He died in 1778.
PEDRIEL, Santos, a Spanish painter, who was
a pupil of Sanchez-Coello. He painted historical
subjects, and flourished about 1570. Siret gives
the date of his death as 1578.
PEDRIGNANI, Girolamo, a painter and en-
graver, who flourished at Forli about 1640 to 1650.
Among his plates are :
The Death of Abel.
Adam and Eve in Paradise.
Adam bewailing the Death of Abel.
PEDRINI, Giovanni, of Milan, who flourished
in the 16th century, was one of those followers of
Leonardo da Vinci who exaggerated their master's
style. His works are to be seen at Milan, Berlin,
and elsewhere. Pedrini is supposed to be identical
with the Pietro Riccio, mentioned by Lomazzo as a
pupil of Leonardo.
PEDRO, El Licenciado. See Gutierrez.
PEDRO, Francesco del, an engraver, was born
at Udine in 1736. He established himself at Venice,
and among his engravings we may name :
A Holy Family.
A sleeping Jesus.
Charity ; after Alhani.
Judgment of Paris ; after Giordano,
The Card-player ; after Teniers.
Landscapes ; after Xondonio and Maggiotto.
PEDRONI, Pietro, an Italian historical painter,
was a native of Pontremoli. He studied at Parma
and Rome, and eventually settled at Florence,
where he became Director of the Academy. He
died in 1803.
PEDUZZI, Domenico Antonio, a Dutch painter
of Italian extraction, was born at Amsterdam in
1817. He was a pupil of J. Pieneman, and painted
effects of light and interiors. He died at Vienna
in 1861.
PEE, Engelhardt van, a Flemish painter, who
was born at Brussels. He resided chiefly in Ger-
many, and had much success at the Court of
Munich. He died in 1605.
PEE, Henrietta van. See Wolters.
PEE, Jan van, a Dutch figure painter, born at
Amsterdam about 1640. He was a son of Em-
manuel Van Pee, a Dutch picture-seller, and was
chiefly employed in copying the works of the Dutch
masters.
265
Pee
A BIOGRAPHICAL DICTIONARY OF
Pelham
PEE, Theodob van, a Dutch historical portrait
and interior painter, was born at Amsterdam in
1669. His painting not being sufficient to support
him he became a picture-dealer. In this capacity
he came to England in 1715, and 1719, and on the
last occasion he remained seven years, and amassed
a considerable fortune. He then returned to h'e
own country, and died at the Hague in 1747 or 1750.
PEER, Lange. See Aabtsen.
PEETERS, BoNAVENTUEA, a Flemish painter of
battles and sea-pieces, was born at Antwerp in 1614.
His favourite subject was a stormy sea with light-
ning flashing above, and a ship in danger. His
works are very unequal in merit. His strong point
was composition, and the arrangement of light and
shade. He died at Hoboken in 1652, and was
buried there. He usually signed his pictures F. B.
with the date. Works :
Amsterdam. E. Museum. View at Flushing.
Antwerp. Museum. View of Middelburg.
Brunswick. Gallery. View on a River-bank.
Darmstadt. Gallery. Dordrecht from the Maas.
„ „ A Storm at Sea.
Dresden. Gallery. View of Corfu (?) {Signed
Bonaventura Feelers ; fecit in
Hoboken 1652.)
„ „ View of Scheveningen (with
figures Tiy David Tenters the
eider).
Petersburg. Hermitage. A Seaport.
Vienna. Liechtenstein G. Three pictures of Storms at Sea.
„ Belvedere. A Sea-piece.
„ „ A Military Post.
PEETERS, Claea, a Flemish still-life painter,
who flourished in the 17th century. Several pictures
by her are in the Madrid Museum, and one bears
the date 1611.
PEETERS, Geeeit. See Pieteeszbn.
PEETERS, Q ILLES (or Egidius), who was born
in 1612, and died in 1653, was a brother of Bona-
ventura Peeters, and worked in the same atelier.
Nothing is known of his paintings, but he etched a
series of hunting-pieces after Snyders.
PEETERS, Jacob, a Flemish painter of church
interiors, who flourished in 1696. He was a pupil
of Pieter Vandevelde, at Antwerp, in 1672-3, and
Master of the Guild in 1688-9. He painted in the
style of Pieter Neefs. His brother Jan flourished
at Antwerp as a painter and engraver in 1680.
PEETERS, Jan, a brother and pupil of Bona-
ventura Peeters, was born at Antwerp in 1624.
He painted similar subjects to those of his brother,
though in general his works are very inferior to
those of Bonaventura. He sometimes painted com-
bats at sea, and even attempted historical subjects.
He became a Master of the Guild in 1645, and
appears to have died in 1677. Paintings by him
are in the Antwerp Museum, the Munich Pinakothek,
and the Belvedere and Liechtenstein Collections at
Vienna ; and the Rijks-Museum of Amsterdam
possesses a good picture of the ' Destruction of the
English fleet at Chatham, in 1667,' by him. He
engraved a series of landscapes in the style of
Nieulandt.
PEGNA (or Pegnia). See De la Peigne.
PBINS. See Pencz.
PEIPERS, Heemine. See Stilee.
PEIROLERI, PiETBO, an Italian engraver, was a
native of Turin, and flourished about the year 1760.
Zani gives 1741 for the date of his birth, and says
he was active in 1777.. Nagler says he was born
in 1738, and gives a list of 20 prints by him.
Neither authority mentions the date of his death.
His chief prints appear to be :
2C6
Bacchus seated on a Tun ; after Eulens.
Portrait of the Fornarina ; after Baphael.
Portrait of Eaphael ; after the same.
Philippe de Champagne ; copied from Edelinck.
The Holy Family ; after Scarsellino.
The Finding of Moses ; after Laszarini.
A ' Roman Charity ; ' after the same.
Abraham's Offering ; after Bellucci,
Jupiter and Calisfco ; after Amicani.
Zephyrus and Flora ; after the same.
PELACANE. See Moeone, Dom.
PELAIS, Michel, (or Palais ?,) supposed to have
flourished at Rome about 1625. He engraved the
portraits of Cardinal d'Ossat and J. de Gastebois.
His mark is also found on prints after Palma the
younger, and Federigo Zuccaro, and his manner
approaches that of Cornells Cort. The signature
Palais fee. is to be found on a wretched print of
' St. John preaching in the Wilderness,' but the
author may have been a totally different person.
PEL^^E, PiBEEE, a native of Courtedoux in tlie
Canton of Bern, and a scholar of von Schenker,
engraved from 1820 to 1838. The following prints
by him are noticed by Nagler :
The Evangelist St. John ; after Bomenichino.
The President Duranti ; after F. Belaroche.
Several Portraits and Vignettes for the works of Vol-
taire and Rousseau ; after Besenne and Beveria.
PELEGRET, Tomas, a Spanish historical painter
in fresco and en, grisaille, was born at Toledo, where
he studied the elements of his art, but afterwards
went to Italy and placed himself under Baldassare
da Siena, and Polidoro da Caravaggio, from whom
he derived his knowledge of chiaroscuro; and
whom he made his model. He returned to Spain,
in the time of Charles V., and established himself
at Saragossa, where he acquired considerable reput-
ation. His drawings were highly prized, not only
by amateurs, but by artists. They were purchased
with avidity by painters, sculptors, decorators, and
goldsmiths. Unfortunately few or none of his
works in fresco exist, and the only examples of his
ability that can be mentioned with certainty, are
some pictures in the manner of Polidoro Caravaggio
in the Monastery of Santa Eugracia, in Saragossa.
He died at the age of 84. He had many scholars ;
among them was Cuevas, who assisted him in
painting the sacristy of the cathedral of Huesoa,
and some other works.
PELGROM, Jakob, a Dutch landscape painter,
who flourished early in the 19th century. He was
a pupil of J. Pieneman.
PELHAM, Heney, historical and miniature
painter, resided with Copley, R.A., and was most
probably his pupil. In 1777 he contributed to the
Academy ' The Finding of Moaes,' which was en-
graved by W. Ward in 1787. In the following
year he exhibited some miniatures in enamel and
water-colours.
PELHAM, Pbtee, an English engraver, was born
in London in 1684, and died about 1738. He en-
graved several portraits in mezzotint ; among which
are the following :
King George I. ; after Kneller.
King George II. ; after the same.
Anne, consort of the Prince of Orange ; after the same.
Oliver Cromwell ; after Walker.
Thomas Holies, Duke of Newcastle.
Robert, Viscount Molesworth ; after Gibson.
John, Lord Carteret ; after Kneller.
James Gibbs, Architect ; after Hysing.
Peter Paul Rubens ; after Rulens.
Edward Cooper ; after Van der Vaart.
Dr. Edmund, Bishop of London ; after Murray.
Pelicliy
PAINTERS AND ENGRAVERS.
Pellini
J. C. PELHAM.,a painter chiefly of portraits, born in
1721, was liis son.
PELICHY, Gertrude db, a Flemish portrait,
landscape, and animal painter, born at Utrecht in
1743. In 1753 she followed her father to Bruges,
and afterwards resided at Paris, where she received
lessons from Suvee. In 1777 she returned to Bruges,
and was made an honorary member of the Imperial
Academy at Vienna. She painted portraits of the
Emperor Joseph II., and of his mother, the Empress
Maria Theresa. In the Bruges Academy there are :
a landscape ; ahead of Christ, after Guido ; and an
old man's head, by this lady. She died in 1825.
PELKIN, CoRNELis, an indifferent Di\tch en-
graver, lived about the year 1663. He engraved
a frontispiece to a book, entitled 'Spiegel der
Spaensche Tirannie,' published at Middleburg in
1663.
PELLEGRINI, Andrea, an Italian painter,
flourished at Milan from 1560 to 1595. He painted
historical subjects, and several of his pictures are
to be found in the church of St. Jerome at Milan.
PELLEGRINI, Giovanni Antonio, was born
at Padua in 1674 (or Venice in 1675). He was a
scholar of Genga ; and is said to have received some
instruction from Paolo Pagani. He distinguished
himself among the modern Venetians, by a ready
and ingenious invention, and an unusual facility
of execution, though the efEect of his works is im-
poverished by a feeble and languid colouring, and
a total neglect of the principles of chiaroscuro.
The reputation he had acquired at Venice, and
afterwards in Paris, recommended him to the notice
of the Duke of Manchester, who invited him to
England, where he resided some years, until 1712,
in which year he entered the service of the Elector of
Saxony at Dresden, and finally returned to Venice.
He died in 1741. He executed several ornamental
works for the mansions of the English nobility.
He is noticed in the ' Guida di Venezia,' with this
addition, ' Fu pittore piu di fortuna che di merito '
(' he was a painter rather by favour than by merit ').
Some of his pictures have been engraved by V.
Green, J. B. Gathelin, P. Simon, and T. Park. The
following are preserved :
Augsburg. Gallery. Several portraits and allegories.
Geuoa. Durazzo Pal. The Oath of Hamlet's Mother.
Paris. Louvre. Allegorical design — Modesty
offers the Artist's Paintiug
to the Academy.
Rome. Academy of St. 1 jjgVg
Luke. }
Venice. S. Moise. The Brazen Serpelit.
„ 8. C. Borromeo. Healing of the Man with the
Palsy.
PELLEGRINI, Domenico, a painter, was bom
at Venice about 1768. He studied chiefly at Rome,
and his first great works were the ' Death of Mes-
saHna,' and ' The Marriage at Cana.' In 1792 he
came to England, where he gained a considerable
reputation as a portrait painter. He returned to
his own country and painted several portraits in
Rome, Venice, and Naples. Schiavonelti engraved
after him.
PELLEGRINI, Felice, was born at Perugia in
1567, and was a scholar of Federigo Baroccio. He
painted historical subjects, and became an artist of
BuflScient celebrity to be invited to Rome by Pope
Clement VIII,, who employed him in the Vatican.
After having exercised his talents at Rome with
some success, he returned to Perugia, where he
died in 1630.
PELLEGRINI, Francesco, was, according to
Barotti, a native of Ferrara. He was a scholar of
Giovanni Battista Cozza, and flourished about the
year 1740. There are many of his works in the
churches at Ferrara. In the cathedral is a ' St.
Bernard ; ' and in San Paolo a ' Last Supper.'
PELLEGRINI, Pellegkino, an Italian historical
painter, was employed at the Escorial at Madrid,
and was appointed painter to the Court of Spain.
He died about 1634.
PELLEGRINI, Vincenzio, the brother of Felice
Pellegrini, was born at Perugia in 1575, and was
also educated in the school of Baroccio. He painted
several pictures for Perugia, in the churches of
Sant' Antonio, in the Chiesa Nuova, and in other
places. He was called ' II Pittor Bello ' for the
beauty of his person. He died in 1612.
PELLEGRINO, Fra Ignazio. See Danti.
PELLEGRINO da BOLOGNA, and Domenico,
See TiBALDi.
PELLEGRINO da MODENA, (or MnNAEi). See
Aretdsi.
PELLEGRINO da SAN DANIELE. See Mar-
TiNO DI Battista.
PELLET, David, was a French engraver, whose
name is afSxed to a plate representing Louis XIII.
when young, on horseback, with the portraits of
Henry IV. and Maria de' Medici in small ovals at
the top.
PELLETIER, Jean, a French engraver, was
born in Paris about the year 1736. We have
several plates by him of various subjects, among
them the following :
The "Watering-place ; after Serchem.
Ruins and Figures ; after the same.
The Fish-Market ; after Pierre.
The Green-Market ; after the same.
Diana reposing ; after Boucher.
The Rape of Europa ; after the same.
Two Pastoral subjects ; after the same.
The Union of Design and Painting ; after Natoire.
Young Bacchus ; after C. van Loo.
The Travellers ; after JVouwerman.
Ladies going to the Chase ; after the same.
The Tipplers ; after Ostade.
Nagler mentions about twenty more, after Claude,
A. Van der Velde, Teniers, Bega, F. Millet, Metsu,
and others. Pelletier's wife also engraved two
plates after A. Ostade, and one after Wouwerman.
There is no account of the death of either.
PBLLI, Marco, an engraver, was born at Venice
about 1696. His principal engravings are heads
of saints ; a few portraits ; a ' Charge of Cavalry.'
after Borgognone ; and a ' Landscape,' after D. B.
Zilotti, signed M. Pelli exc. No particulars of
his life have been preserved.
PELLICIAIO. See Del Pelliciaio.
PBLLICOT, Lonis Alexis de, a French painter,
and native of Digne. He flourished in 1787. A
' Cromwell at Windsor ' and a set of views of old
French chateaux were among his most important
works.
PELLIER, Nicolas FRANgois, a native of
Besan9on, was born in 1782_, and has left a few-
small landscapes engraved with the point from his
own designs. He died in 1804.
PELLIER, Pierre Edm:^ Lodis, a French por-
trait and historical painter, who flourished about
1815. He was a pupil of Regnault. In the
Museum at Caen is a ' Telemachus ' by him.
PELLINI, Andrea, a native of Cremona, who
flourished about 1595. He painted historical pic-
tures, and resided chiefly at Milan,
267
Pellini
A BIOGRAPHICAL DICTIONAEY OP
Pencz
PBLLINI, Marc Antonio, an historical painter,
was born at Pavia in 1659. He was a pupil of Th.
Gatti, and studied at Venice and Bologna. He
died in 1760.
PBLISSIER, Theodor, a German painter of
French extraction, was a pupil of Wach, and
painted genre pictures towards the end of the 18th
century. He lived at Hanau, Hesse.
PBLOSI, Francesco, an historical painter, who
flourished at Venice in the 16th century. At
Bologna are by this artist a 'St. Julian,' a 'St.
James,' a ' Virgin and Child,' and a 'Dead Christ.'
PELTRO, John, engraver, was born in 1760. In
1779 he exhibited some engravings after Taverner
and others, but his chief work was engraving after
Eepton the miniature views of gentlemen's seats
for the ' Polite Repository.' He died at Hendon
in 1808.
PEMBROKE. Thomas, an English historical
painter, born in 1702. He was a pupil and follower
of the younger Laroon, and was patronized by the
Earl of Bath. His best known work is a ' Hagar
and Ishmael,' which was mezzotinted by J. R.
Smith and published by Boydell. He died in 1730.
PEN, HiSPEL, (or Penn). Strutt has fallen into
error with respect to a supposed artist of this
name ; it is now satisfactorily ascertained, that the
prints assigned to him ought to be included in the
works of Beham.
PEN, Jacob, was a Dutch painter, mentioned by
Balkema as being particularly employed by Charles
II. He says that he composed with intelligence,
and added beautiful colour to correct drawing ; but
he says nothing of his subjects, and adds, " All his
pictures are in England." Pen died in 1678.
PENA. See Diaz de la Pena.
PENAI. See La Penai.
PENALOSA, Juan de, an historical painter of
the school of Seville, was born at Baeza in 1681.
He was one of the best scholars of Pablo de Ces-
pedes, whose works he assiduously imitated, as is
evinced in the magnificent picture in the cathedral
of Cordova, representing St. Barbe. He also
painted a ' St. Jago ' for the convent of Arizafa ;
several pictures for the Minimes, and many others
for private collections in Cordova, where he died
in 1636.
PENCHARD, J., was a Dutch engraver, who
resided at Leyden about the year 1678. His plates
are chiefly confined to frontispieces, and other book
ornaments ; but he engraved the anatomical plates
for the works of Reg. de Graaf, with the portrait
of the author, published at Leyden in 1678.
PBNCZ, Geoeg, a native of Nuremberg, was
born at or before the beginning of the 16th century.
He was admitted into the Guild of Painters in
1523, after he had been, if not under the instruc-
tion, at least under the influence, of Albreoht Diirer.
He was associated with the Behams, and with
them in 1524 underwent the sentence of banilh-
ment for heresy. His sentence, however, seems
to have been allowed to drop, as we find frequent
notices of his presence in Nuremberg, though he
was deprived of his citizen-right, and in 1525 he
was permitted to settle in Windsheim, a place
within the city's jurisdiction. About 1632 he
probably returned to Nuremberg altogether. Be-
fore his trial we find him engaged on the work of
restoring pictures, but he was afterwards appointed
painter to the Rath. There is no proof that he
paid much attention to engraving till 1535, the first
date on any of his plates. He seems to have
268
visited Italy on several occasions, and the dates of
those visits have unusual importance from the fact
that Passavant confidently ascribes to him one of
the finest of the plates, which the world has been
in the habit of giving to Marc-Antonio. In the
fourth volume of the ' Peintre-Graveur,' Passavant
says : " Pencz left his home to frequent the school
of Marc-Antonio. This is put beyond a doubt by
the style of his words at the time. The influence
of the Italian school is clearly present. . . . Above
all is it visible in the ' Massacre of the Innocents
(au Chicot), Bartsch, 18,' hitherto considered the
original plate by Raimondi himself.'' Passavant
goes on to say that this Massacre au Chicotis finer
and firmer in drawing than the one by Marc-An-
tonio, but rather less graceful and life-like. To
quote his works ; " On carefully comparing these
two masterpieces of engraving on copper, No. 18
appears neater and firmer in drawing, but difEers
not only in the burin line, which is slightly thinner
and stiffer than that of so consummate an artist as
Marc-Antonio, but the expression of the heads has
less life, and the hatchings sometimes have that
horizontal direction which is never found among
the Italian engravers. No. 20 (Bartsch), which
undoubtedly belongs to Marc-Antonio, is of freer
line, and fuller outline, and of greater vivacity in
the heads. Everything considered, we are fully
convinced that the print, No. 18, ' Au Chicot,' was
executed by George Pencz after the original draw-
ing of Raphael" (vol. iv. p. 101). To all this
the champions of Raimondi oppose an aliM, assei-t-
ing that Pencz did not practise engraving untU
after the deaths both of Raphael and Raimondi.
It is diflScult to see how this can be conclusive,
and there certainly is much in common between
the work in the disputed plate and that in the
' Triumphs of Petrarch,' which are without doubt
by Pencz. In 1539 Pencz was certainly in Rome,
and at this time executed a large print after Giulio
Romano, called ' The Taking of Carthage,' and to
this period is also assigned by Passavant, 'The
Prisoners,' a print generally ascribed to Ghisi.
Pencz executed several plates in miniature from
the Old and New Testaments ; also many scenes
from ancient history and mythology, In 1544 he
was commissioned to paint a ' S. Jerome ' at Nurem-
berg, where he was also successful in portrait paint-
ing. He died at Breslau in 1550. Most of the
pictures ascribed to Pencz are merely copies from
his plates, but the following may be considered
authentic :
Berlin. Museam. Portrait of the painter Brhard
Schwetzer {signed with a
moTWgram and dated 1544).
„ „ Portrait of Schwetzer's wife.
1545.
„ Portrait of a Toung Man. 1534.
„ Portrait of a Mathematician.
Gallery. Three fragments from an
'Adoration of the Magi,'
signed G. P. in a monogram.
„ Two Male Portraits (?).
„ Female portrait {formerly as-
cribed to Holbein, whose name
appears upon it.)
Gotha. „ A Portrait.
Hampton Court. Portrait of an Italian Gentle-
man.
Vienna. Belvedere. A Portrait.
Copies^ of Holbein's Erasmus, at Windsor, Brunswiclt.
and in the Braderhaus at Nuremberg.
His engravings of Bible subjects are notable for
their secular spirit, and his work as a whole for its
Carlsruhe.
Dresden.
Glasgow.
Penguilly
PAINTERS AND ENGRAVERS.
Penni
combination of Italian refinement in execution with
northern thoroughness. The following list includes
all his more important plates :
The six triumphs of Petrarch.
The Massacre of the Innocents lau Chicot).
The taking of Oarthage (signed Georgino Penoz pictor,
Nurriberg, Faciehat, Anno MDXXXIX) ; after
Giulio Bomano.
The Prisoners. (Generally ascribed to G. Ghisi.)
Scenes from the Old Testament.
»» i» JNew „
Thomiris, Medea, Paris, and Procris {four plates).
Triton carrying off Amymone.
The Legend of Virgil and the Scornful Lady (2 plates).
Death of Sophonisba.
The Conversion of St. Paul.
Portrait of Duke Frederick of Saxony.
(Pencz is the only one of ' The Little Masters ' who has
left no Madonnas^
See Bartsch, ' Les Peintres Graveurs,' vol. viii. p.
319, 1803 ; ' The Little Masters,' W. B. Scott, 1880 ;
and J. D. Passavant, ' Le Peintre Graveur,' vol. iv.
PENGUILLY L'HARIDON, Octave, a French
historical, landscape, and still-life painter, was
bom in Paris in 1811. He was a pupil of Charlet,
and among his works was a picture of the death of
Judas. He died in 1870.
PBNIOAUD. This was the name of a family of
artists of the 15th and 16th centuries. It com-
prised :
L:fioNAED or Nakdon PiNiCAUD, an enameller of
Limoges (1495—1513).
Jean Penicaud, the elder, also an enameller of
Limoges (beginning of the 16th century).
Jean Penicaud, the younger, a painter (1531-47),
has left a portrait of Luther and several other
works in Paris, and in private collections.
Jean Penicaud, the youngest, called ' The Glory
of Limoges,' was a follower of Parmigiano in style.
The Louvre has a fine collection of his enamels.
Pierre Penicaud, probably a brother of the last
(born 1515), is the painter of some draped figures
in the Gatteaux Collection, and of a mythological
subject on porcelain at Berlin. For a more detailed
account of the Penicauds see Laborde, ' Notice des
Emaux du Louvre.'
PENLEY, Aaron Edwin, a water-colour painter,
born in 1806, first appears in 1835 as an exhibitor
at the Royal Academy, to which he continued to
contribute occasionally till 1857. In 1838 he was
elected a member of the Institute of Painters in
Water-colours, but withdrew in 1856 on the
ground that justice was not done to his works
when sent for exhibition. In 1869 he was, at his
own solicitation, re-elected an Associate. From
1851 tillits dissolution he was Professor of Drawing
at the Addisoombe East India College, and he held
a similar post at Woolwich till his death. He was
water-colour painter to William IV. and Queen
Adelaide. He was the author of 'Elements of
Perspective,' ' The English School of Painting in
Water-colours,' and 'Sketching from Nature in
Water-colours.' He died at Lewisham in 1870.
PENNA, Della. See Nuzzi.
PENNACCHI, GiEOLAMo di Piee-Mabia, (called
GiROLAMO DA Tkeviso,) wasthe son of Pietro Maria
Pennacchi, and born in 1497 at Treviso, in which
city a house known as that of Pier Maria Pennacchi
still exists, its facade covered with a fresco by
Girolamo of the 'tfudgment of Solomon,' together
with medallions, playing children, and similar
designs. In early life Girolamo went to Venice,
and from thence to Genoa, but nothing authentic
now remains of his labours in either city. In 1532
he was employed by Cardinal Gloss to paint several
frescoes in the Castello at Trent ; remains of these
still exist. In 1533 Sabba da Castiglione employed
him to paint at the church of the Commenda of
Paenza a votive fresco of the ' Virgin and Child, with
Saints,' and a kneeling portrait of himself, that still
remains over the high altar. At about this period
in his life he paid a visit to Bologna, where several
of the churches possess frescoes and paintings by
him. Between the 3'ears 1535 and 1538 he returned
to Venice, and became intimate with Titian, San-
sovino, and Aretino. During this visit he painted
many frescoes in different palaces of the nobility ;
those executed by him in the Palazzo Andrea Odone
still remain. In 1642 he came to England, and be-
came architect and engineer to Henry VIII., and was
employed by that monarch at the siege of Boulogne,
where he was killed by a cannon-ball in 1644. The
mode of his death is described in a letter from
Aretino to Sansovino, dated in July 1545. Works :
London. Nat. Gal. Virgin and Child,with SS. Joseph,
James, and Paul, and patron.
{The best example extant. It
came originally from the Boc-
caferri Chapel in San Do-
menico, Bologna.)
Borne. Colonna Pal. Portrait of a Man holding a medal.
Treviso. Onigo Coll. Virgin and Child, with St. Joseph.
„ „ Two bust portraits of Men,
PENNACCHI, Pietro Maria, was the son of
Giovanni di Daniele Pennacchi, and bom in 1464.
He probably spent his early years in Treviso, and
went to Venice in after-life. In the church of San
Francesco della Vigna, Venice, there is an 'Annunci-
ation ' by him ; and Santa Maria della Salute, Santa
Maria della Miserioordia, and La Madonna de'
Miracoli have each ceilings panelled in relief with
sacred subjects in the panels, which are ascribed to
this artist. On the front of a house in the Via
Ognissanti, Treviso, are various sacred and profane
frescoes, said to have been painted by Pietro in
1628, in which year he died. The following works
by him may also be mentioned :
Berlin. Museum. Christ in the Tomb, between two
Angels.
Treviso. Cathedral, The Assumption of the Virgin.
PENNE, Jan van, a Dutch still-life painter, was
settled at Antwerp about 1680. He was born about
1662, and died after 1700. He was the teacher of
J. J. Horemans the elder. Perhaps identical with
J. van Pee.
PENNEMAKERS, the Recollet, was, according
to Balkema, a scholar of Rubens. In the Museum
at Antwerp there is an ' Ascension of Christ ' at-
tributed to him.
PENNENSUS, F., who was probably a painter,
and a native of Italy, has left a few slight etchings,
the following among them :
The Holy Family, with St, Catharine, and an Angel in
the air ; after Parmigiano.
The Marriage of St. Catharine ; from his own design.
PENNEVILLE, Jan, a Flemish historical painter,
was a native of Bruges. He was Master of the
Corporation of St. Luke in 1639, and died in 1681.
PENNEY, N., a French engraver, has left some
plates of devout subjects, executed with the graver.
Among others is 'The Virgin appearing to St.
Bartholomew,' which is apparently from his own
design, as he adds/ea< to his name.
PENNI, Bartolommeo, was an Italian portrait
and historical painter of the 16th century. He
was engaged in England by Henry VIII. at the
same time as Antonio Toto.
269
Penni
A BI06EAPHICAL DICTIONARY OF
Feusabene
PENNI, GiANFEANOESco, called II Pattore, was
a painter of Florence, born about 1488. He went
to Rome when he was very young, and was re-
ceived into the school of Raphael, of whom he
became a favourite disciple ; and being entrusted
by that artist with the management of his domestic
afEairs, he acquired the appellation of ' II Fattore.'
Raphael employed him in many of his most im-
portant works, particularly in painting upon the
cartoons for Leo X., and in the Loggie of the Vati-
can. Taja informs us that the histories of Abra-
ham and Isaac were executed by Penni. In these
important undertakings, he acquitted himself so
much to the satisfaction of Raphael, that he was
appointed joint executor with Giulio Romano. He
was employed by Clement VII., in conjunction
with Giulio, to finish the frescoes of the ' History
of Constantino,' which had been begun in the
Saloon now called after them. ' Constantino's
Vision of the Cross,' and his ' Battle with Maxen-
tius,' were painted by Giulio ; his ' Baptism by St.
Silvester,' and his 'Donation of Rome to that
pontiff,' by Penni ; so in ' The Assumption of the
Virgin,' at Monte Luce, Perugia, Penni painted
the lower half. He had also a principal share
in the 'History of Cupid and Psyche,' in the
Farnesina. After this he fell into disagreement
with Giulio, and made a tour through Lombardy,
settling afterwards at Rome. The marriage of
his sister with Perino del Vaga led him to work-
ing in conjunction with this artist also. Of his
own compositions, those executed in fresco have
now almost entirely perished ; and he painted
so few pictures in oil, that they are rarely to be
met with. He paiticularly excelled in landscapes,
and was well acquainted with the beauties of
architecture. In 1525 he was invited to Naples
by the Marquis del Vasto, and took with him an
admirable copy he had made of the ' Transfigura-
tion,' by Raphael, which he sold to that nobleman,
for whom he executed some considerable works.
This copy is now in the Sciarra Colonna Palace,
at Rome. He died in 1528. Pictures by him are in
the Vatican, the Museum of Naples, and the galleries
of Dresden and Stuttgart. According to some
authorities the picture in the Bridgewater Gallery,
known as ' The Madonna del Passeggio,' is painted
by him.
PENNI, LtJCA, called Romano, the brother of
Gianfrancesoo Penni, was born about the year
1500. He is said to have frequented, for a short
time, the studio of Raphael ; and after the death of
that' master to have attached himself to Perino del
Vaga. After painting some pictures for the churches
at Lucca and Genoa, he visited England, in the reign
of Henry VIIL, by whom he was for sonie time
employed, and afterwards went to France, where
he painted at Fontainebleau, in conjunction with
II Rosso. On his return to Italy he applied himself
to engraving, and executed several plates, both
with the point and the graver. Among his designs
are ' Diana borne on the shoulders of Orion ' (en-
graved by Giorgio Ghisi) ; ' Apollo with the Muses
upon Parnassus ' (engraved by G. Mantovano) ; and
a ' Scourging of Christ ' (engraved by H. Wierix).
His prints are chiefly from the works of 11 Rosso
and Primaticcio ; the following are the best :
The Death of Luoretia.
Two Satyrs presenting "Wine to Bacchus ; after II Rosso,
Leda drawing Arrows from Cupid's Quiver; after the
same.
Susanna and the Elders ; after the same.
The Sacrifice of Isaac ; after Primaticcio.
270
The Marriage of St. Catharine ; after the same.
Penelope at work, surrounded by her Women ; after
the same.
PENNING, NicoLAAs Lodewijk, bom at the
Hague in 1764, was a scholar of Dirk van der Aa,
and painted landscapes, interiors of stables, and
marine subjects. He died at the Hague in 1818.
His drawings are held in some esteem.
PENNY, Edwabd, was born at Knutsford, in
Cheshire, in 1714, and having, at an early period
of his life, discovered an inclination to painting, he
was sent to London, where he was placed under
the tuition of Hudson, who was at that time emi-
nent. He afterwards went to Rome, where he
studied some time under Marco Benefial. On his
return to England, some time before 1748, Penny
became a member of the Incorporated Society
of Artists of Great Britain, of which he was for
some time vice-president. At the foundation of
the Royal Academy he was one of the original
members, and was appointed their first Professor
of Painting. He continued in that situation, and
read an annual course of lectures, which were well
received, until the year 1783, when, in consequence
of declining health, he was obliged to resign the
professorship, and was succeeded by Barry. About
this period he went to reside at Chiswick, and
having married a lady of property, lived in quiet
retirement until his death, which happened in 1791.
Penny was principally employed in painting
small portraits in oil, which were very generally
admired. He also painted sentimental and historical
subjects, many of which were publicly exhibited.
Among others, were the ' Death of General WohEe,'
from which a mezzotint print was published by
Sayer, and met with a very extensive sale; the
portrait of the 'Marquis of Granby relieving a
sick Soldier,' from which there is a print ; ' Virtue
rewarded,' and ' Profligacy punished,' two pictures
which are also engraved. In 1782 he exhibited
for the last time. 'The pictures then shown included
' The Benevolent Physician,' ' The Rapacious
Quack,' and 'The Distraint of the Widow's Cow.'
PENOZZI, B., is mentioned by Papillou as an
engraver on wood, but he has not specified any of
his prints.
PENS. See Pencz.
PENSABENE, Fra Marco, and Fra Marco
Maeaveia, his assistant, both of the order of the
Dominicans at Venice, painted at Treviso in 1520
and 1621. The former was born at Venice about
1486, and entered his religious order in 1602. Lanzi,
enumerating the scholars, followers, and hnitators
of Giovanni Bellini, mentions the altar-piece in
the Dominican church at Treviso, painted by
Marco Pensabene and his assistant, in which the
cupola, the columns, and the perspective, with the
throne of the Virgin seated with the infant Jesus,
and surrounded by saints standing, the steps orna-
mented with an angel playing on the guitar, are
all modelled on similar things by Bellini. Crowe
and Cavalcaselle conjecture that this altar-piece
may have been finished by Savoldo. In 1520
Pensabene began a painting of 'The Madonna
with Saints,' for San Nioool6, in Treviso, but for
some unknown reason fled secretly .from his con-
vent in 1521, before it was completed. It stifl,
however, evinces such merit that it has been
ascribed to Titian, Giorgione, and Sebastianodel
Piombo. In 1524 Pensabene was again a Dominican
friar in Venice, where he died in 1529. Two por-
traits by him are in the monastery at Treviso, and
Fensieri
PAINTEBS AND ENGRAVEES.
Perelle
a ' Madonna with Saints ' in possession of the Conte
Lbchis Carrara.
FENSIERI, Battista. See Parmensis.
PENZEL, Johann Geoeq, a painter and en-
graver, was born at Hersbruok, near Nuremberg,
in 1764, according to Brulliot (Zani and Nagler
say in 1754), and died at Leipsic in 1809. He
commenced with Schellenberg at Winterthur, and
afterwards studied at Dresden, where he entirely
devoted himself to engraving. He worked much
for the publishers there, and engraved many of
Chodowiecki's designs.
PEPIJN, Martin, (Pepin, or Peptn,) was born
at Antwerp in 1575. It is not known under whom he
studied, but he went when young to Italy, where
he remained several years. Such was the reputation
he acquired at Rome, that when Rubens, who
was then in the zenith of his fame at Antwerp,
heard of Pepijn's intention to return to his native
country, it occasioned him some uneasiness. Pepijn
became a member of the Guild at Antwerp about
1600, and died ii) 1642 or 1643. In the church
of the hospital at Antwerp there are two ad-
mirable works by him ; they are both triptychs.
In the centre picture of one he has represented
the Baptism of St. Augustine ; on one of the
wings, that Saint giving alms to the poor ; on
the other, St. Augustine curing the Sick. The
centre picture of the other triptych represents
St. Elisabeth giving charity to a group of miserable
objects, who are struggling to approach her. On
one of the wings is the death of that Saint, and on
the other her Ascension to heaven, with a choir of
angels. The Museum of the same city possesses a
' Preaching of St. Luke,' and ' The Passage of the
Red Sea' (1626), by him; the cathedral a 'St.
Norbert,' and the Arenberg Gallery at Brussels a
'Female Head.' Most of the works of Pepijn
are, however, in Italy. His daughter, Kathaeina
Pepijn, also a painter, was born in 1619, and be-
came a member of the Guild in 1653.
PEQUIGNOT, an obscure French landscape
painter of the 18th century. He is chiefly re-
membered as the friend of Girodet Trioson, with
whom he travelled.
PERAC. See Dnp^EAC.
PERANDA. See Santo Peeanda.
PERCELLES (or Peecellis). See Paecelles.
_ PERDANUS, Abeaham, a Dutch painter of still-
life, born at Haarlem in 1673. He was a pupil of
Brakenburg, and died at Maarsen in 1744.
PERE, Ant. van db. See Vandepbee.
PEREA, . A Spanish painter mentioned by
Espinosadelos Monterosamongtheartists employed
at Seville in the decoration of the funeral monument
of Philip II. Perhaps identical with Pereira {q. v.").
PEREA, Blas DE, was a Portuguese painter, who
settled in Castile about 1550. He was a friend of
the painter Francisco de Holanda.
PEREDA, Antonio, (or Peeea,) a Spanish his-
torical painter, was bom at Valladolid in 1599.
He was a scholar of Pedro de las Cuevas, and gave
early proofs of his ability in art. After making
considerable progress in the school of Cuevas he
was placed by his patron, Don Francisco de Texada,
with Juan Bautista Cresoenzi, Marquis de la Torre,
who had been a pupil of Pomerancio. At the age
of eighteen he produced and exhibited to the public
a picture of the ' Immaculate Conception,' in which
the Virgin appeared on a throne of clouds supported
by angels. The reputation he acquired by this per-
formance induced the 'Conde-Duque,' Olivarez, who
was then occupied in filling the palace of the Buen
Retire with the works of the best Spanish painters,
to place Pereda among those of the highest rank.
He performed his part to the satisfaction of his
patron, and was munificently rewarded. Pereda's
works were much in request, and he exercised his
talent on a great variety of subjects. History,
social scenes, still-life, vases, tapestry, musical
instruments ; all were within the compass of his
versatile brush. He died at Madrid in 1669. His
works were formerly to be found in all the palaces
and churches of Madrid, Toledo, Aloala, Oueuca,
Valladolid, and in many private collections. At
present there are two in the Madrid Gallery, one of
which is a 'St. Jerome meditating on the last
Judgment ; ' in the church of San Tomas is a ' St.
Domingo and God the Father' (1640), and in the
Academy of San Fernando ' The Dream of Life ; '
in Marshal Soult's collection there was a 'Christ
asleep on the Cross,' with flowers and skulls about
Him; in the Esterhazy Gallery, at Pesth, there
is a 'St. Anthony and the Infant Christ' (the
same subject is among the Suermondt pictures at
Berlin) ; a still-life subject (1621) is at St. Peters-
burg ; and three or four in the Gallery at Munich.
Formerly it was considered that no Spanish col-
lection was complete without an example of
PEREDA Y DUARTE, Tomas de, a Spanish
artist, who became a member of the Academy of
San Fernando in 1757. He died in 1770.
PEREGRINI DA CESENA, an Italian engraver
of the 15th century. Duchesne enumerates sixty-
six plates by his hand, which he calls nielli. More
recent critics, however, see in these not proofs of
goldsmith's work, but impressions from plates ex-
pressly engraved for printing. The facts in favour
of this view are, in the first place, the number of
these so-called nielli, and, secondly, the occurrence
of the artist's signature upon the prints with the
letters the right way. Peregrini's most important
plate is a 'Resurrection,' which is signed De Opus
Peregrini Ce*. The rest of the plates ascribed to
him are signed either P or O.P.D.C.
PEREIRA, Vasoo, (Perbyba, or Peeiea), was a
Portuguese painter, who resided at Seville, in great
credit, at the end of the 16th century. He was
employed in 1594 to repair the fine fresco of ' Christ
of the Criminals,' painted only thirty years pre-
viously by Luis de Vargas. He was one of the
artists employed in the cathedral of Seville in
1598, to prepare the magnificent decorations for
the funeral service of Philip II. He painted the
' Decollation of St. Paul ' for the convent of that
order, in competition with Mohedano and Vazquez.
He executed many other works which have ceased
to exist in Spain, though some are to be found in
Portugal. He was reckoned a skilful draughtsman,
but dry and hard as a colourist, as may be noted in
the 'Four Doctors of the Church' painted by him
for the library of the Carthusians of Santa Maria de
las Cuevas, and an 'Annunciation ' in the college of
San Hermenegildo. He died at the commencement
of the 17th century. The Dresden Gallery possesses
a ' St. Onofrius ' by him. In the case of the ' Cruci-
fixion ' in the Misericordia of Oporto, it is undecided
whether it was the work of Pereira, or of Vasco
Fernandez. The Museum of Seville possesses a
' Nativity ' dated 1579.
PERELLE, Gabriel, an eminent French de-
signer and engraver, was born at Vernon-sur-Seine
at the beginning of the 17th century, and died in
271
Fereriette
A BIOGEAPHICAL DICTIONARY OP
Periccioli
Paris in 1675. He was instructed by Daniel Rabel,
whom he soon surpassed. He excelled in drawing
and engraving landscapes and views, of which he
left a prodigious number. He usually enriched
them with ruins and other objects, which give an
agreeable variety to his scenery. Although by far
the greater part of his plates are from his own com-
positions, he also engraved from the designs of
several other masters, particularly Paul Bril, Gas-
par Poussin, Asselyn, and above all, Silvestre.
His best works are comprised in the two collections,
'D^lices de Paris,' and ' Ddlices de Versailles.' He
was assisted in his numerous works by his sons,
Nicolas and Adam Perelle, who, after his death,
engraved a great number of plates of architectural
views, landscapes, &c., which are inferior to those
of their father. Nicolas is stated to have engraved
' The Four Seasons,' and ' The Pour Elements,' and
to have died at Orleans ; Adam, to have been born
in 1638, and died in Paris in 1696. The Perelles
worked both with the point and the graver. Their
works from their own designs are multifarious, and
frequently to be met with. The following are the
principal plates they engraved after other artists :
A set of four Views, the Church of St. Michel at Dijon,
the Palace in that City, the Bridge of Grenoble, and
the Porte Eoyale at Marseilles ; after Sihestre.
Four Views in Paris, the Arsenal du Mail, the Pontneuf ,
the Louvre, the Mail, and surrounding country ; after
the same.
A set of four Views, the Baths of Bourbon d'Archam-
baud, the Castle of Bourbon Lancy, with the Baths
of Julius Caesar; and the great Chartreuse near Gre-
noble ; after the same.
Six Views of the Jardin de Euel ; after Israel iSilvestre.
Two Mountainous Landscapes, with bibhcal subjects ;
after P. Bril.
Six Views in Rome and its Environs ; after J. Asselyn.
A View of Buins, with the Adoration of the Magi ;
after Poelemberg.
PERERIETTE, , executed a coarse etching
after Paolo Veronese, representing the Holy Family
accompanied by two angels.
PERET. See Pbreet.
PEREYRA. See Peeeiea.
P^REZ, Andees, a Spanish historical and flower
painter, was born at Seville in 1660 ; and was
instructed by his father, Francisco Perez de Pineda
one of the members of the Society of Professors
who established the Academy in that city, and
who was himself a scholar of MuriUo. In the
sanctuary of Santa Lucia, at Seville, there were
three Scriptural subjects relating to the holy sacra-
ment, signed Andres P4rez, 1707 ; and in the
sacristy of the Capuchins of the same city another
with the date 1713, representing the ' Last Judg-
ment,' taken in part from that of Michelangelo.
Perez was, however, most successful in painting
i3owers and other objects after nature. His his-
torical works show a great falling off from the
good rules MuriUo had endeavoured to establish.
Andres P6rez died in 1727.
P!^REZ, Antonio, a Spanish historical painter,
born in a village of Andalusia. In 1648 he was
employed to paint chosen subjects for the old
sanctuary of Seville cathedral. In 1550 he finished
three pictures for the church of Nuestra Senora ;
in 1653 he painted the altar of San Ibo, and in 1556
restored that of the church of San Francisco. He
died about 1680. His son Antonio worked with him.
PEREZ, Antonio and Nicolas, painters, were
two brothers living at Seville from 1654 to 1668,
who devoted considerable time and money to the
foundation of the Academy in that city.
272
P!1^REZ, Baetolom^, was a Spanish painter, bom
at Madrid in 1634, and appointed painter to the
king in 1689. He was the scholar and son-in-law
of the flower-painter Arellano, whom he excelled
as a draughtsman, and sometimes assisted by paint-
ing the figures in his works. He was particularly
successful in rendering curtains and drapery, on
which he was much employed for the theatre at
Buen Eetiro. His flower-pieces too were much
esteemed. He died in 1693 from a fall from some
scaffolding whilst painting a ceiling in the palace
of the Duke of Monteleon. He painted a 'St.
Rosa of Lima,' a ' Virgin praying to the Child '
and many flower paintings, of which there are
four good examples in the Madrid Museum.
PEREZ, Flobian Juan, a Spanish nobleman, and
amateur painter of genre subjects, was bom in
the neighbourhood of Madrid in the first half of
the 16th century. He was a knight of a religious
order; in 1566 was appointed valet to Philip II.
He died at the commencement of the 17th century.
PEREZ, JoAQUiK, a Spanish historical painter,
was bom at Alcoy. In 1773 he gained the prize
from the Academy of San Carlos at Valencia. He
died in 1779.
PJ^REZ, Mattbo. See Alesio.
PEREZ DE PINEDA, Fbancisco, was a pupil
of MuriUo. His son, who bore the same name,
went at his father's death to the school of Luea de
Vald^s, and died at Seville in 1732. Bermudez
says that his pictures were as bad as the doggerel
verse in which he wrote the life of Fernando de
Contreras.
PERFETTI, Antonio, an engraver, was born at
Florence in ViWi, and from 1818 onwards was a pupil
of Rafael Morghen. In 1828 he obtained the prize
at the Florence Academy with his ' Sibyl of Cumae,'
after Guercino, but obtained wider renown through
his ' Presentation in the Temple,' after Fra Barto-
lommeo. He and his pupils completed the engraved
collection of the Gallery of Florence. He died in
that city in 1872. Other plates by him are :
The Madonnas ' deUa Sedia ' and ' del Granduca '; after
Raphael.
Birth of the Virgin ; after Andrea del Sarto.
Portrait of Dante ; after Giotto.
PERGER, Anton von, a painter, bom at Vienna
in 1809. He was a son and pupil of Sigmund von
Perger. In 1830-33 he was travelling in Italy,
and on his return to Vieima he was appointed
Professor of Anatomy, and in 1872 Director of the
Court Library. He painted chiefly still-life scenes.
He died in 1876.
PERGER, Sigmund Ferdinand von, historical
painter and engraver, was bom at Vienna in 1778,
and studied at the Academy there. In 1816 he be-
came Court painter, and in 1825 assistant custodian
of the Belvedere Gallery. He died in the same
city in 1841. As a painter on porcelain he showed
himself especially skilful, working eleven years at
the Imperial factory. Among his works we may
name :
Horse-race at Kopcsan {afterwards engraved !n/ himself).
The Herald bringing the News of the Victory of Mara-
thon to Athens.
The Rape of Ganymede.
Romulus and Remus with the She-wolf. (Etching.)
PERICCIOLI, GiULlo, (or Periocivoli,) designer
and etcher, was born at Siena about 1600, and after
receiving some instruction from his uncle Fran-
cesco, an ecclesiastic and calligraphist, completed
his studies in Rome and Venice. He subsequently
Perier
PAINTERS AND ENGRAVERS.
Fernot
visited Constantinople, Egypt, Malta, Sicily, and
Spain, where Philip III. appointed him drawing-
master to the prince, his son. He next went to
Holland, and was similarly employed on behalf of
the Princess Louise ; then to England, where he
painted Charles I. ; and finally returned to his own
country, where he entered the service of the Grand
Duke of TUBoany. He died after 1660. He pro-
duced numerous pen-and-ink drawings, several of
which he ©tched. Two plates hy him after Vanni
represent a ' King writing,' and a ' Warrior on
horseback.'
PERIER, FEANgois, an obscure French painter
and engraver, who died about 1665> He was a
native of Saint-Jean-de-Laure. He was a member
of the TnaUrise.
PBRIGAL, Akthub, an English historical painter
of some promise, who gained the Academy gold
medal in 1811 for his ' Themistocles taking refuge
with Admetus.' He occa-sionally exhibited at the
Academy up to 1821, after which, there is no further
trace of him. In that year he was living at
Northampton.
PERIGAL, Arthub, a landscape painter of High-
land scenery, was- born in Iiondon in 181&. He
was a frequent exhibitor in Edinburgh, and an
occasional contributor to the Royal Academy and
British Institution from 1861 to 1876. He was
elected an Associate of the Scottish Academy in
1841, an Academician in 1868, and Treasurer in
1880. He died suddenly in 1884, in Edinburgh.
Works :
A Sutherlandshire landscape..
Vesuvius, from Naples.
The Pier, Nairn.
Arran.
On the Jed.
A Eough Day.
Skye, evening..
Loch Tromlie.
Morning, Glen Nevis..
Moor near Kinlochewe, Bosshtre. {Scottish National
Gallery.)
PERIGNON, Alexis Joseph, a French portrait
and genre painter, born in Paris in 1806. He was
the son of A. N. Perignon, under whom, and Gros,
he studied. His works were awajded medals in
1836, 1838, and 1844, and he obtained the Legion
of Honour in 1850, becoming an officer of the order
in 1870. His latter years were spent at Dijon as
Director of the Academy there. He died in 1882.
Amongst his works are :
Nantes.
Dijon.
Museum. Portrait of Admiral Leray.
Museum. St. Cecilia.
PERIGNON, Alexis Nicolas, the elder, a French
painter and engraver, alsa an architect and notary,
was bom at Nancy in 1725. He travelled in Italy
and Switzerland, and died in Paris in 1782. He
painted landscapes in oil, and flowers in gouache ;
and has etched 43 plates from his own landscapes.
PERIGNON, Alexis Nicolas, the younger, a
French painter of portraits, genre, and historical
subjects, was born in Paris in 1785. He was a
pupil of Girodet, and exhibited at the Salon from
1814 to 1850, obtaining a second class medal in
1824. He died in 1864. At Versailles there are
by him :
Davoust in 1792.
The Duke of Orleans and the Duke of Chartres.
Perignon's daughter, Caeoline Louise Emma,
Mme. Debay, also won some repute as a painter.
VOL. n. T
PERIN, Alphonse Henri, a French historical
and landscape painter, born in Paris in 1798. He
was a pupil of Gudrin, and among his works are
the mural paintings in the church of Notre Dame
de Lorette in Paris. He died in 1874.
PERIN-SALBREUX, Li^ Louis, a French minia-
ture painter, bom at Rlieims in 1753. He came to
Paris at the age of twenty-five, and took lessons
from an Italian painter called Sioardi. On the
outbreak of the Revolution he retired to Rheims,
where he died in 1817.
PERINI, Giuseppe Sforza, an Italian engraver,
was bom at Rome about the year 1748, and was stili
living in 1795. He executed some of the plates
for the 'Scuola Italiana' of Gavin Hamilton, and
engraved some of the statues in the Clementine
Gallery. The following, among others, are by
him:
The Frontispiece to the 'Scuola Italiana,' with two figures
by Michelangelo.
Jupiter and Antiope ; after Jacopo Talma.
Charity ; after Bartolommeo Schedone.
Christ bearing his Cross ; after Zanfranco.
PERINI, LoDOVico, an indifferent Italian en-
graver, has left some prints executed with the
graver, among which is one representing two men
playing at cards, and a woman overlooking them.
PERINO del VAGA. See Buonacooesi.
PERIS, Henei, a Flemish la,nd&cape painter.
He was appointed Dean of the Corporation of St.
Luke at Antwerp, ifli 1662. In, the church of the
Augustins. at Antwerp are two landscapes by him.
Ha died in 16.70.
PERISIN. See Pereissim.
PERJECOUTER, See SERWouii'EK,
PERKINS, Charles C, an American painter,
[ draughtsman, and writer on art. He was born at
Boston in 1823. He studied painting under Ary
Schefifer, and etching under Bracquemond and
Lalanne, but most of his life was devoted to the
study of art history and to its. teaching. In 1876
he was appointed honorary director of the Museum
of Pine Arts at Boston. In 1864 he published
' Tuscan Sculptors ' in two volumes ; in 1867,
' Italian Sculptors, in one vojume, and in 1878,
' Raphael and Michael Angelo.' The plates in
these books were etched by himself, mostly from
his own designs. He died in 1886.
PBRLA, Feajstoesoo, the reputed author of two
frescoes in the Cathedral of Mantua, dating from
the 16th century.
PERNA, PlETEO, according to Strutt, was an
engraver on wood, to whom some prints marked
F. P. are usually attributed. He Uved to the latter
end of the 16th century.
PERNET, , is mentioned by Strutt as an
engraver who lived about the year 1620, and
executed a few indifferent portraits.
PERNICHARO, Pablo, a native of Zaragoza,
studied with Hovasse at Madrid. Philip V. granted
him a pension to enable him to study in Rome,
where he was elected to the Academy of St. Luke.
On his-return he became painter-in-ordinary to the
king-, and Director of the Academy of San Fer-
nando from 1753 till his death in 1760. He furnished
various sacred compositions to the palace, the
Academy, the church of San Isidro, and the
hospital of Monserrate, also a copy of Raphael's
' Assembly of the Gods ' to the palace of San
Ildefonso.
PERNOT, FBANgois Alexandee, was born at
Wassy (Haute Marne) in 1793. He was a pupil
Perola
A BIOGRAPHICAL DICTIONARY OF
Perrier
of Victor Bertin and Hersent. He travelled from
1818 to 1828, through Switzerland, the Vosges, the
Rhine Provinces, Belgium, England, and Scotland.
He worked to some small extent as a sculptor
also. He died in 1865. Among his pictures we
may name :
Eighty sketches of old Paris.
A series of picturesque Views in Scotland.
The Trenches of Vincennes. ( Versailles Gallery.)
Marius in Carthage.
Tell's Cliapel.
£uins of the Chateau de Pierrefonds.
PEROLA, Jdan, Francisco, and Est^fano,
painters, sculptors, and architects, were three
brothers, natives of Almagro, in La Mancha, who
are supposed to have studied in the school of
Becerra. In 1586 they were employed by the
Marquis of Santa Cruz, with Cesare Arbasia, an
Italian, to paint in fresco the staircase, halls, and
court of his palace at El Viso. In the adjacent
conventual church of the Franciscans were some
oil pictures and various marble tombs attributed to
the Perolas ; they also assisted Mohedano in paint-
ing frescoes for Cordova cathedral.
PERON, Dal. See Cusighb.
P^^RON, Louis Alexandkb, a French historical
painter, was born in Paris in 1776. He was a,
pupil of David, and among his works are ' The
Capture of Toulon ' and ' The Murder of the Inno-
cents.'
PERONI, Giuseppe, according to Abate Affo,
was born at Parma about the year 1700. He first
studied at Bologna, under Felice Torelli and Do-
nate Creti, and afterwards went to Rome, where he
became a scholar of Agostino Masucci. He was a
tolerably correct designer, and, in his best perform-
ances, imitates the style of Carlo Maratti. Such
are his pictures in the church of San Satiro, at
Milan ; and the ' Conception,' at the Padri dell'
Oratorio, at Turin. In competition with Pompeo
Batoni, he painted in fresco for the church of Sant'
Antonio Abate, ' The Crucifixion,' which places him
among the most respectable artists of his time.
He died in 1776-
PEROTTI, PiETEO Antonio, portrait painter,
was born at Verona in 1712, and died there in
1793. He was a pupil of Balestra, and painted
pastel portraits at Venice, Rome, and London.
He married Angelica Legru (born 1719, died
1776), who executed works of a similar class.
PEROU, Antoinb, an obscure painter, who was
appointed concierge to the Acadtoie in Paris, in
the time of Louis Testelin, whose pupil he had been.
PEROUX, Joseph Nicolaus, was born at Lud-
wigsburg in 1771, and after studying at Stuttgart,
became the first teacher of Overbeck, and came in
1806 to Frankfort, where he died in 1849. He
painted portraits in oil and miniature, an allegor-
ical Reformation picture, and a ' Christ as the
Children's Friend ' (now in the City Collection at
Frankfort).
PEROXINO, Giovanni, a painter who was active
at Alba, in Piedmont, in the year 1517. He
painted an altar-piece for the oonventuali, in that
town.
PERRACINI, Giuseppe, an historical painter,
called II Mirandolese. He was born in 1672, and
died in 1754. His talent was very slight, and he
should not be confounded with Pietro Paltronieri,
who was also called II Mirandolese.
PERRE, Jan. See Van der Peebe.
PERREAL, Jehan, called Jean db Paris, was
274
court painter to Charles VIII., Louis XIL, and
Francis I., from 1483 to 1528, and produced numer-
ous pictures of battles and sieges. His father,
Claude de Pebeeal, painter and poet, in whose
honour C14ment Marsh wrote some verses, was
valet to Louis XL in 1474. Jean's name occurs for
the first time in 1483, as that of a valet-de-chambre
to Charlotte, the wife of Louis XI. He followed
the French army into Italy, and was commissioned
to paint some of its feats. Jean was employed by
the municipality of Lyons in 1489 and 1493 to
organize the fetes given by the town in honour
of the visit of Charles VIII. In 1496 he was the
first to sign the act of incorporation of the Lyons
artists. He was the friend and protector of the
poet, Jean Lemaire, whom he presented to Anne of
Brittany. After Anne's death Perreal was charged
to paint her portrait, which he did, from the corpse.
The miniatures in a manuscript relating to the
Queen's obsequies are also ascribed to him. Per-
real, who was en engineer and architect as well as
a painter, died in 1528 or 1529.
PERRET, PiETER, (or Pedro Pbeet,) an en-
graver, was born about 1550 : it is uncertain
whether he was a native of France or of the Low
Countries. He studied at Rome under Cornells
Cort, and was engraver to the Duke of Bavaria
and the Elector of Cologne. In 1589 he settled at
Antwerp, where he engraved some views of the
monastery of San Lorenzo in the Escurial, from
drawings by Juan de Herrera, which gave so
much satisfaction to Philip II. that be invited him
to Spain, and appointed him his engraver; an
olBce which he retained under Philip III. and IV.
He was called to Madrid in 1596, and resided there
till his death in 1637. His chief performance was
a set of portraits of the Kings of Portugal, pub-
lished in 1603, which he inscribed Pedro Ferret
sculptor Regis fecit. He also engraved several
plates of historical subjects, among which are :
The Woman taken in Adultery ; after Brueghel.
The Chastity of Joseph ; after Speeckaert.
Four subjects from the Lite of Ignatius Loyola, with
his portrait.
PERRIER, FRANgois, called Le Boueguignon,
was a French painter and engraver, who was bom
either at Saint Jean de Losne or at Macon, in Bur-
gundy, about the year 1584. He was the son of a
goldsmith, who had him instructed in the elements
of design ; but as he opposed his desire of becoming
a painter, the young Perrier secretly left his home,
and, without the means of subsistence, associated
himself with a blind mendicant, who was on his
waj' to Italy, and by this means arrived at Rome.
He accidentally became acquainted with Lanfranco,
who encouraged him in his pursuit, and admitted
him into his school. After a residence of several
years at Rome, he returned in 1630 to France, and
passed some time at Lyons, where he painted a
set of pictures for the cloister of the Carthusians.
He then visited Paris, where Simon Vouet, who
was then in possession of every commission of
importance, employed him in painting the chapel
of the chateau of Chilly, from his design. Finding
little employment in Paris, he returned to Rome m
1635, where he applied himself to engraving the
principal antique statues and bas-reliefs, and exe-
cuted several plates after the Italian masters, as
well as from his own designs. After the death of
Simon Vouet, he returned to Paris in 1645, when
he was employed to paint the gallery of the H6tel
de la Vrilliere, and was one of the twelve professors
Perrier
PAINTERS AND ENGRAVERS.
Perseus
who in 1648 founded the Academy. He died in
Paris in 1650. Some of his best paintings are the
frescoes in the above hotel, and his pictures of
' Apollo in the Chariot of the Sun,' ' The Tempta-
tion of St. Anthony,' and ' Acis and Galatea ' — tliis
last in the Louvre. "We have by him also a con-
siderable number of etchings, from his own designs,
and after other masters. He sometimes signed his
name Faria. The following are his principal
plates :
A set of one hundred prints from antique statues,
published at Kome.
A set of fifty, from ancient bas-reliefs.
Ten plates of Angels from the Farnesina ; after Raphael.
Two plates of the Assembly of the Gods, and the Mar-
riage of Oupid and Psyche ; after the paintings by
Raphael, in the Farnesina.
The Oommuuiou of St. Jerome ; after Agost. Carraoci.
The Flight into Egypt ; after the same.
The Nativity ; <^ter S. Vouet.
The portrait of Simon Vouet ; F. Perrier fecit. 1032.
AFTER HIS OWN DESIGNS.
The Holy Family, with St, John playing with a Lamb.
The Orueiflxion ; inscribed Franciscus Perrier, Sur-
gundius, pinx. et seul.
St. Koch curing the Plague-stricken.
The Body of St. Sebastian, supported by two Saints.
Venus and the Graces,
Time clipping the Wings of Love, engraved in chiar-
oscuro.
PERRIER, GuiLLAUME, born at Macon about
1600, was the nephew and scholar of Franjois
Perrier, whose style he followed. Of his works as
a painter the most considerable are his pictures in
the sacristy of the Minimes at Lyons, where he
took refuge, having killed a man in a duel. We
have by this artist several etchings, executed in
the style of his uncle. He died in 1655. Among
his best plates we may name :
A Holy Family.
The Death of the Magdalene.
Portrait of Lazarus Meysonnier,
An allegorical subject.
PERRIN, Jean, was an obscure engraver on
wood, who, conjointly with Jean Munier, executed
a set of cuts for a work entitled ' La Morosophie
de Guillaume de la PerriSre Tolsain, contenant cent
Emblemes,' published in 1653.
PERRIN, Jean Charles Nicaisb, a French his^
torical painter, was born in Paris in 1764. He was
a pupil of Doyen and Duraraeau. In 1787 he was
elected a member of the Academy of Painting.
Among his works are, ' Venus healing the Wound
of .iEneas,' ' The Sacrifice of Cyanippus,' and an
' Assumption.' He died in 1831.
PERRIN, Olivier Si'ANISLAS, a French painter,
bom at Rostrenen in 1761. He first studied at the
Academy of Rennes, but afterwards, through the
kindness of the Duke of Charost, he entered the
studio of Doyen. He then worked with the en-
graver Massard, after which he went on two or
three campaigns. He then obtained a Government
post at Quimper, and painted several pictures illus-
trating Breton life. He died at Quimper in 1832.
PEKRIN, Thomas, a miniatui-ist, who flourished
at Dijon about 1400. He worked for the Duke of
Burgundy.
PBRRISSIM, Jacques, (Pbbisin, or Persinus,)
was an old French engraver, who flourished about
the year 1570. In conjunction with J. Tortorel,
he designed and engraved, partly on wood and
partly on copper, a set of twenty-four large prints,
representing subjects from the Huguenot war, 1559
t2
to 1570. His copper-plates are etched in a coarse,
incorrect style ; the woodcuts are executed with
more attention. He sometimes signed his prints
J. Perrimim fecit, or J. Persinus fecit, and some-
times marked them with the monogram ^ . Zani
thinks that he was a German by birth, an opinion
in which Nagler seems to concur. The latter says
ho was born in 1530, and quotes the work referred
to as being published in 1567 and 1574. Brulliot
has given his monogram thus ip which agrees with
Nagler, who calls him C. Jakob. When he en-
graved conjointly with Tortorel the monogram is
See also Tortorel.
PERRONEAU, Jean Baptists, a French en-
graver, was born in 1731, and died in 1796. He
was instructed by L. Cars. He engraved also after
Boucher, Van Loo, and Bouchardon. He was a
painter in crayons, and was for a short time in
England, where he exhibited some portraits in that
medium. Among other prints, he has left two of
the elements, 'Air' and 'Earth,' after Natoire ;
the companions, ' Fire ' and ' Water,' are engraved
by P. Aveline. Perroneau is said by Siret to have
died at Amsterdam in 1783.
PERROT, Antoine Marie, a French landscape
and architectural painter, born in Paris in 1787.
He was a pupil of Watelet and Michallon. Among
his landscapes are views of Clisson and Messina.
PERROT, Catherine, aFrench miniature, flower,
and animal painter, who flourished in the 17th
century. She was a pupil of Nicolas Robert, and
was received into the Academy in 1682. She
published some works on painting in miniature.
She married one Claude Horry, a notary.
PERROT, Ferdinand Victor, a French painter,
born at Paimboeuf in 1808. At the age of nineteen
he painted for the small church of Ploudaniel an
' Assumption,' which attracted a great deal of at-
tention. He then went to Paris to study, and there
executed for M. Gudin a large number of litho-
graphs. He painted several sea-pieces, and in
1836 went to Italy, where he produced a picture of
' Susannah and the Elders ' which made some sens-
ation. In 1840 he went to St. Petersburg, and
was just about to be admitted into the Academy,
when, yielding to the severity of the climate, he
died in 1841.
PERRY, Francis, an English engraver, was born
at Abingdon in Berkshire, and was a pnpil of one
of the Vanderbanks. He was for some time under
Richardson, but made little progress as a painter.
He afterwards set up as an engraver, and for
some time worked 'for the magazines. He died in
London in 1765. His best plates are coins and
medals, which he copied with neatness and pre-
cision. He also engraved some portraits, among
which we have the following :
Dr. Ducarrel, afiixed to his Anglo-Norman Antiquities.
Matthew Hutton, Bishop of Durham.
Alexander Pope, Poet.
He also etched a series of drawings, by himself,
of Lichfield Cathedral.
PERSECOUTER (or Persecutedr). See Ser-
wouter.
PERSEUS, an ancient Greek painter, who flour-
ished more than three hundred years before Christ.
He was a disciple of Apelles, and though greatly
inferior to his master, he may be presumed to have
275
Peraeval
A BIOGRAPHICAL DICTIONARY OF
Peruzziai
possessed considerable talents, as he was favoured
with the particular esteem of that painter, who
addressed a treatise on art to him.
PERSBVAL, — , a French portrait painter, born
at Chamery in 1745. He was a Professor of Draw-
ing at the Royal College of Pont-le-Voy. In the
Museum at Rheims there is an old woman's portrait
by him. He died in 1837.
PBRSIJN, Reniek de, (Pbeseyn, Pbezyn, &c.,)
called Naecissus, was a painter and engraver, bom
at Amsterdam about the year 1600. He went to
Rome, where, in conjunction with Cornelis Bloe-
maert, Theodor Matham, and M. Natalis, he en-
graved the statues in the Palazzo Giustiniani. He
married the daughter of the glass-painter, Theodor
Crabeth, who brought him a fortune which enabled
him to drop the profession. He worked with the
burin in a neat, clear style. We have also the
following plates by him :
The Portrait of Ariosto ; after Titian.
Baldassare, Count Castiglione ; after Raphael.
S. Coster, Physician ; after Sandrart.
Admiral Meppel ; after Pierson.
Old Age ; after Eubens.
PERSINUS. See Pkeeissim.
PERSON, NiooLAUs, a German engraver, flour-
ished about the year 1700. He executed a set of
indifEerent prints after portraits of German Arch-
bishops ; these were published in 1696.
PERSYN, Jan, a Dutch portrait painter, born at
The Hague in 1708. He was a pupil of Constantine
Netscher. He afterwards entered the Artillery,
and became an engineer in the service of the Dutch
Republic.
PBBTUS, Raphael, a Spanish painter of history
and landscape, who flourished at Saragossa about
1680. His landscapes were graceful in composition
and pleasant in colour.
PERDCCI, Oeazio, an Italian historical painter,
born at Reggio in 1548. He was a pupil of Lelio
Orsi, and was also an architect. In the church of
S. Giovanni in Reggio there is a picture of S.
Albert by him. He died in 1624. His son
Francesco was also an artist.
PERUGIA, Beenaedino da, was a painter living
in Perugia in the early part of the 16th century,
who has been often confounded with Pinturiochio.
He established himself in San Severino in 1509,
and in 1524 he painted an altar-piece, now in San
Domenico of that city, representing a ' Virgin and
Child, with four Saints.' Several paintings ascribed
to him are to be seen in Perugia. In London,
at Dudley House, is ' A Virgin holding a bird by
a string, with the Child in her grasp.' At the
Louvre, a ' Crucifixion,' with numerous figures, is
generally attributed to him.
PERUGIA, Maeiano ba, or Maeiano di dee
Edsteeio da, an obscure scholar of Perugino, to
whom Vasari refers as the author of a picture ' of
slight interest ' in S. Agostino, at Ancona. Mariotti,
however, ascribes to him a better work in S. Do-
menico, at Perugia.
PBRUGINI, a landscape painter of Milan, to
whose pictures figures were added by Alessandro
Magnasoo.
PERUGINO, Alois: (or Luigi). See Scaeamuocia.
PERUGINO, Domenico, an obscure painter, who
died in Rome about 1590, aged 70 years. He is
supposed to have been also the engraver mentioned
by Vasari as the author of certain excellent plates
after Roman antiques (see vol. v. p. 431 [Milanesi]).
276
PERUGINO, IL. See Santi, Pieteo.
PERUGINO, II Cavalieee. See Ceeeini.
PERUGINO, Paolo. See Gismondi.
PERUGINO, Pbteuccio. See Montanini.
PERUGINO, Pieteo. See Vanucci.
PERUGINO, PoLiDOEO, a goldsmith, who was
living about 1650 at Perugia, and who may have
also engraved. It has been suggested that he may
be the Perugino alluded to by Vasari in the life of
Marc-Antonio (vol. v. p. 431 [Milanesij).
PERUZZI, Baldassaee, painter and architect,
was bom at Siena, March 7, 1481 ; he was the son
of a weaver, who had settled there. In 1501 he was
employed in the chapel of S. Giovanni, in the
cathedral, receiving 42 lire for his work. His chief
instructors appear to have been Bazzi and Pintu-
riochio. About 1604 he went to Rome, where he
settled and soon obtained a good position. His
chief work in his earlier years at Rome was the decor-
ation of S. Onofrio. In the semi-dome and tribune
there are an ' Eternal,' a ' Coronation of the Virgin,'
a 'Virgin amongst Saints,' an 'Epiphany,' and
a ' Massacre of the Innocents,' by him. At S. Croce .
in Gerusalemma the vaulting of a crypt, dedicated
to S. Elena, is inlaid with mosaics after designs by
Peruzzi. In the Camera dell' Eliodoro at the Vatican
the ceiling is assigned to Peruzzi. It was at this
period that, from the study of perspective, Peruzzi
was led to architecture, and we find him employed
by Agostino Chigi to erect a palace on the banks
of the Tiber. In the flat roof of the garden lodge
of this palace Perazzi drew several mythological
subjects, as also in other parts of the palace. In
1517 he painted in a semi-dome of the Ponzetti
chapel, in S. Maria della Pace, a series of Biblical
subjects, such as ' The Creation,' ' Deluge,' ' Sacri-
fice of Isaac,' 'Virgin and Child,' and others. From
1517 till 1520, when he succeeded Raphael as
architect of St. Peter's, and from 1520 till 1527, he
did little that has not perished. From 1521-3 he
was in Bologna, but returned to Rome, and was
engaged at the festival given in honour of Clement
VII. 's coronation. In 1527, on the occasion of the
sack of Rome, he was captured and ransomed by
the Spaniards, and plundered of all he possessed.
He then went to Siena, where he was employed
by the Government in planning fortresses. About
this time he also painted a fresco in the little
church of the Madonna di Fontegiusta, at Siena ;
the subject is the ' Sibyl announcing the Nativity
to Augustus.' He remained in Siena till 1536,
when he returned to Rome, and devoted himself
entirely to architecture. He was a good mathe-
matician, and a master of perspective. He died in
Rome, on Jan, 6, 1637. Of his principal works wo
may name a figure of ' Charity with three children,'
in the Berlin Gallery ; an ' Adoration of the Magi,'
in the Bridgewater Gallery ; and a fine cartoon of
the same subject in the National Gallery in London,
where, too, there is a picture from the cartoon, but
not by Baldassare.
PERUZZINI, Domenico, an engraver, bom at
Pesaro, supposed to have been the elder brother of
Giovanni Peruzzini. He appears to have lived
mostly at Ancona, and flourished from 1640 to
1661, according to the dates on the prints attri-
buted to him by Bartsch. These prints had been
previously ascribed to Domenico Piola, but the
style is entirely difEerent, both in design and
execution. It is supposed that, like his brother
Giovanni, he was a scholar of Simone Cantarini da
Pesaro, and his etchings resemble those of that
Peruzzini
PAINTERS AND ENGEAVEES.
Pesne
master, and of Guido Eeni. Subjoined is a list of
their titles :
The Holy Virgin, half-length, with the infant Jesus.
D. P. 1661.
The Virgin seated, with the Infant on her knees. D.
F. 1661.
Ghrist tempted by the Devil, in the form of an old man.
Z). P. 1642.
Christ bearing his Cross, with other figures, half-lengths.
•O. P- P. F. engraved on the cross (ciradar).
The Holy Family and Saiuts. Dom". Per"". Anconae,
1661.
St. Anthony of Padua praying, and the Infant Jesus
appearing to him on a cloud supported by three
cherubim. Dom P. F.
The Assassination. A man in his shirt on a bed, assailed
by three soldiers, one of whom thrusts a lance into
his body. D. P. 1640.
Four landscapes. The first is signed D. P.f. Anconae ;
the others, D. P. only.
St. Jerome doing Penance in the Desert. The letters
D. P. F. are on a plant to the right. (Considered
' '■"!.)
PERUZZINI, Giovanni, was born at Ancona,
or at Pesaro, in 1629, and was a scholar of Simone
Cantarini. There are several of his pictures in the
churches of his native city, of which the most
esteemed are the ' Decollation of St. John,' at the
Spedale ; and a picture of ' St. Teresa,' at the
Carmelitani. He resided some time at Bologna,
where there are some of his works in the public
edifices, particularly the ' Descent of the Holy
Ghost,' in the church of SS. Vitale ed Agricola ;
and a picture of ' St. Cecilia,' in the church dedicated
to that Saint. He was invited to the court of
Turin, where he executed several works, both in
oil and in fresco, so much to the satisfaction of his
patron, that he was made a knight of the order of
St. Maurice. He died at Milan in 1694. He was
vain of his facility of execution, and inscribed on
one of the lunettes of the Portico de' Servi in Bo-
logna, "Opus 24 Hor. Eq. Jo. P." (the work of
twenty-four hours by Gio. Peruzzini, knight). Carlo
Cignani, on reading it, observed, " Leminchionerie si
fanno presto " (trifles are soon done). Giovanni's son
Paolo, and his brother, Domenico, were also painters.
PERY, Nicolas, an obscure historical painter of
the seventeenth century. He was received into
the Guild of St. Luke, at Brussels, in 1736.
PERZYN. See Pbbsijn.
PESARESB, II (or Simone da Pesabo). See
Cantaeini.
PESARI, Giovanni Battista, an Italian his-
torical painter, was a native of Modena. He lived
some time at Venice, where he died after 1650.
PESARO, Niccol6. See Teomeito.
PESCHEL, Kabl Gottlieb, a German historical
painter, born at Dresden in 1798. He was a pupil
of Vogel, and studied in the Dresden Academy.
In 1825 he went to Rome, where he remained about
a year. On his return he assisted his master Vogel
on frescoes at Pilnitz. About 1830 he was ap-
pointed a Professor in the Dresden Academy.
Considerable attention was devoted by him to
mural decoration, and good examples of his work
are to be seen in the Soman House, Leipsic ; and
at the Royal Palace at Dresden. He died in 1879.
Amongst his chief pictures are :
Bebecca at the Well. (Leipsic Museum.)
' Come unto Me, all ye that labour.' 1851. (Dresden
Gallery.)
The Crucifixion. {Leipsic Museum.)
Ezekiel in Babylon.
Angels appearing to Jacob. 1845. (Dresden Gallery.)
Holy Family. (Leipsic Museum.)
PESCI, Gaspaeo, a Bolognese painter of archi-
tectural perspectives who flourished about 1776.
No details of his life are known.
PESCIA,_ Mabiano da, also called Geaziadei,
was an Italian painter the time of whose birth and
death is uncertain ; Zani says he died about 1620 ;
others, that he was born in 1525, and died in 1550.
It is also said that he was a scholar of Domenico
Ghirlandajo, and assisted him in his works ; but in
that case he must have been born much earlier, as
Ghirlandajo died in 1494. Perhaps it was Ridolfo
Ghirlandajo. In the chapel della Signoria, in the
Palazzo Vecchio at Florence, there is an altar-piece
by him ; and, in the Gallery, the ' Virgin and
Infant Jesus, with Elizabeth and the young St.
John.' It is agreed by all that he died young, and
his known works are very few.
PESELLO and PESELLINO. See GinooHi.
PESENTI, Galeazzo, called II Sabbioneta, a
painter and sculptor of Cremona, who flourished in
the 15th century. A Mabtike Pbsenti, also called
II Sabbioneta, lived at Cremona at the end of the
16th century.
PBSNE, Antoine, the son of Thomas Pesne, (a
portrait painter, and brother of Jean Pesne,) was
born in Paris in 1684 (?). He studied under his father
and under his uncle Charles de la Fosse, and after-
wards spent some time at Venice for further improve-
ment. After having been received a member of the
Paris Academy he settled at Berlin, where he became
court painter to Frederick the Great, as well as
Director of the Academy. He died at Berlin in
1757. He painted history and portraits, and his
works were much admired by the connoisseurs of
the court. The Galleries of the Berlin ' Schloss,' and
of Potsdam and Sans-souci, contain many of his
works, and some elegant genre pictures are in the
Dresden Gallery. Pesne painted figures in the
pictures of his friends C. S. Dubois and P. C.
Leygebe. The following are among the best known
of his own pictures :
Portrait of Frederick the Great. {Engraved ly Wille.)
His own Portrait. (Dresden Gallery. Engraved hy G.
F. Schmidt)
Himself and Wife. (Berlin Museum.)
Family picture of the Colonel of the Swiss Guard, Baron
von Erbach.
Tapestry pictures with portraits of Prince Leopold and
his Family. (Dessau Castle.)
Portrait of the Chev. Vleughels.
„ „ Painter Dubuisson.
„ „ Madame Dubuisson.
A Cook plucking a Turkey.
A Young Girl with Pigeons.
Fortune-telling.
Portrait of the Engraver Somidt and his Wife.
PESNE, Jean, a French engraver, was born at
Rouen in 1623, and died in Paris in 1700. It is
not ascertained by whom he was instructed, but
he attained some success as an artist, particularly
as a designer. He produced 168 plates, of which
some are executed with the burin alone, and others
in combination with the point. His principal
plates are from the pictures of Nicolas Poussin,
with which he succeeded admirably ; others are
after Raphael, Titian, the Carracci, Gueroino, Giulio
Romano, and others. The following are perhaps
the best :
pobtbaits.
Two of Nicolas Poussin ; after pictures ly that painter.
Louis le Comte, Sculptor to the King.
Fran9ois Langlois ; after Van Dyck.
277
Peszka
A BIOGRAPHICAL DICTIONARY OF
Pether
SUBJECTS AFTER POUSSIN.
Assumption of the Virgin.
Esther before Ahasuerus.
The Adoration of the Shepherds.
The dead Christ, with the Virgin and St. John.
The Entombment.
The Death of Sapphira.
The Holy Family attended by Angels, with a dedication
to Le Brun.
The Vision of St. Paul.
The Triumph of Galatea.
The Testament of Eudamidas ; one of his best prints.
The Seven Sacraments, in seven plates of two sheets
each.
The Labours of Hercules, in nineteen plates ; from the
paintings in the Louvre.
BTJBJECTS AFTER ITALIAN MASTERS.
The Holy Family ; after RapJiael.
A set of fifteen landscapes ; after Guercino^ and other
masters.
PESZKA, Joseph, was born at Cracow in 1767,
and studied principally in Warsaw under Lampi
and Smugliewioz, the latter of whom he accom-
panied in 1797 to Wilna, and in 1800 St. Petersburg.
He remained in Russia till 1813, when he returned
to Warsaw, wliere two years later he became Pro-
fessor of Painting at the University. He died at
Cracow in 1831. His works are principally por-
traits and scenes from Polish history.
PET:fe, Simon, an obscure paintei of Valladolid,
■who flourished about 1661.
PETER, Emm., a German miniature painter,
born at Jagerndorf in Silesia, in 1799. He died at
Vienna in 1873.
PETER, Wenceslaits, animal painter, was born
at Carlsbad in Bohemia in 1742. He applied him-
self successively to metal working, chasing, and
sculpture before settling to the art which he at last
adopted. He became Professor at the Academy of
San Luca in Rome, and his best work is ' The
Terrestrial Paradise.' A ' Hen and Chickens ' by
him is in the Borghese Gallery. He died at Rome
in 1829.
PETERS, Anton de. See Db Peters.
PETERS, BoNAVENTDRA and Jan. See Peetebs.
PETERS, Frans Luoas, was born at Mechlin in
1606. He was the son of an obscure painter, from
whom he learned the elements of design, but he
afterwards entered the school of Gerard Segers.
He did not, however, follow the style of that
master, but abandoned historical painting to devote
himself to landscapes. He was taken into the
service of the Archduke Leopold, in whose employ-
ment he passed the greater part of his life. He
died at Brussels in 1654.
PETERS, Gkrrit. See Pieterszen.
PETERS, Matthias, flourished at Amsterdam
about the year 1660, and, in conjunction with his
brother NrcoLAAs Pidters, engraved the plates for
the ' Atlas Major,' published by Blaeu, in that city,
from drawings by the publisher.
PETERS, the Reverend Matthew William,
was born in the Isle of Wight in the iirst half of
the 18th century; His parents very early removed
to Ireland, where his father held a post in the Cus-
toms at Dublin. The son became pupil of Robert
West, the master of the school of design there, and
in 1769 he obtained a premium from the Society of
Arts. He was brought up, however, for the Church,
and came to hold the appointments of Prebendary
of Lincoln and chaplain to the Prince Regent. In
the pursuit of art as an amateur he travelled in Italy,
and when at Parma he copied the 'St. Jerome,'
and his copy is now in the church at Saffron Walden.
278
In 1782 he also copiedj for the Duke of Rutland,
a picture by Le Brun in the Carmelite church at
Paris. In 1771 he was elected an Associate of the
Royal Academy, and in 1777 a full Academician.
He resigned in 1790, and died in 1814, at Brasted
Place, in Kent. He is better known by the prints
engraved for Boydell and Macklin than by his
paintings, though some of his pictures have al-
most the impasto of Sir Joshua Reynolds. His
' Resurrection of a Pious Family, ' the ' Guardian
Angel,' ' Cherubs,' and the ' Spirit of a Child ; '
his scenes from the 'Merry Wives of Windsor,'
and from 'Much Ado about Nothing,' and other
theatrical subjects, were very popular. He painted
many fancy subjects and also portraits with much
taste and elegance. He was patronized by some
of the nobility of his day, for whom he painted
subjects very difEerent from his ' Resurrection of a
Pious Family.' There are engravings of several
of his fancy pieces and portraits by Bartolozzi,
Marcuard, Simon, Thew, Dickinson, and J. R.
Smith. He was severely satirized by 'Peter
Pindar.'
PETERSEN, Heinrich Litdwig, a Danish en-
graver, was born at Altona in 1806. In 1824 he
entered the Academy of Dresden, and in 1827 the
atelier of Rossmasster. In the two following years
he engraved some landscapes and portraits at
Heidelberg for the Bhrenhalle, and in 1836 several
plates for the Bibliographical Institute at Hild-
burghausen, and for the Austrian Lloyd's Company
some small landscapes after Rothbart and David. ■
In 1838 he settled at Nuremberg, where he executed
his principal plates — the 'Madonna della Sedia,'
after Raphael ; ' The Tribute Money,' after Titian ;
' The Children in the Wood,' after Von der Embde,
and ' Charles IX. on the Night of St. Bartholomew.'
From 1840 to the end of his life he etched
extensively for Hefner's work on costumes, and
produced numerous facsimiles from drawings by
the old masters. He became conservator of the
art collections at Nuremberg, and died there in
1874. He was also a restorer of engravings and
pictures.
PETERSEN, JoHANN Erik Christian, marine
painter, was born at Copenhagen in 1839. He
studied at the Academy of his birthplace, and then
under Melbye and Dahl. He was engaged in the
war as a Danish ofBcer in 1864, and in the following
year went to America, where he died at Boston
in 1874.
PETERSON, Frederic, enamel painter, was a
pupil of Boit, and died in. London in 1729.
PETERZANO, Simone, (Preterzono,) was a
native of Venice, and was brought up in the school
of Titian. He flourished about the year 1690. His
' Pieta,' in the church of San Fedele, at Milan, is
signed with his name, to which he has added
Titiani discipidus. In the church of San Bar-
naba, at Milan, he painted some frescoes from the
life of St. Paul. There is a fine ' Assumption,' iu
the Chiesa di Brera, at Milan by him.
PETHER, Abraham, the son of William Pether,
was born at Chichester in 1766. In the early part
of his life he applied himself to the study of music,
and at the age of nine years, is said to have occa-
sionally performed as organist in his native city.
He afterwards turned his thoughts to painting, in
which he was instructed by George Smith, and
attained a considerable rank in the art as a land-
scape painter, particularly by his moonlight effects,
whence he has obtained the sobriquet of ' Moon-
Pether
PAINTERS AND ENGRAVERS.
Petit
light Pether.' A ' Harvest Moon ' by him met
with special admiration. His moonlight pieces
are notable for their astronomical accuracy. He
exhibited at the Royal Academy in 1784, his sub-
ject being ' Moonlight.' In 1789 he followed this
with ' A Ship on Fire at Night,' and at intervals
with others, till in 1811 he sent a second 'Erup-
tion of Vesuvius.' Pether not only distinguished
himself as painter and musician ; his philosophi-
cal and mathematical researches were of some
value. He also showed skill as a mechanic, and
constructed various optical instruments, such as
telescopes, miscroscopes, air-pumps, and electric
instruments. Pether died April 13th, 1812.
PETHER, Sebastiak, the eldest son of Abraham
Pether, was born about 1790, and was probably
instructed^ by his father, as he painted similar sub-
jects. His pictures consist of moonlights, con-
flagrations, and sunsets, and exhibit fine feeling ;
but the narrowness of his circumstances, and the
largeness of his family, reduced him to the necessity
of working for picture-dealers, and beyond them it
does not appear that he ever had a patron, except
in one instance. That patron was Sir John F.
Leicester, Bart., who commissioned him to paint
' A Caravan overtaken by a Whirlwind,' which was
exhibited at the Royal Academy in 1826, together
with 'The Destruction of a City by a Volcano.'
His first and almost his only previous contributions
had been in 1814, when his subjects were ' A View
from Chelsea Bridge,' and ' The Burning of Drury
Lane Theatre.' He had considerable knowledge
in the mechanical arts, and, it is said, was the
first that suggested the idea and construction of
the stomach-pump to Mr. Jukes, the surgeon
who introduced it to the medical profession. His
pictures are not numerous ; but they were a source
of great emolument to his friends the dealers, as
they could be readily copied, and the copies dis-
posed of to country gentlemen ; whence it is that
his name so frequently appears in catalogues. His
real works have considerable merit. He died at
Battersea in 1844.
PETHER, William, painter and mezzotint en-
graver, was the cousin of Abraham Pether, and
was born at Carlisle in 1731. He painted por-
traits in oil and miniature, and studied engraving
under Thomas Frye. He was admitted into the
Royal Academy in 1778, and exhibited occasionally
between 1781 and 1794. He died in London about
1795. He engraved several fine plates after Rem-
brandt and other masters, as well as a few from
his own works. Among others, we have the
following prints by him :
FOETBAITS.
The three brothers Smith, Painters of Chichester ; TF,
Fether pinx. etfec. 1765.
Benjamin West ; after Lawranson.
Samuel Chandler, D.D. ; after Chamberlin.
Francois da Quesnoy, Sculptor ; after C, le Brun.
Carlo Tessarini, Musician ; after Falthe.
Eembrandt's Wife (the Jewish Bride) ; after Eembrandt.
Bubens's second Wife ; after Ruiens.
SUBJECTS AFTER VAKIOTJS MASTERS.
The Rabbi ; after Semhrandt.
An Officer in Armour ; after the same.
An old Man with a beard ; after the same.
The Lord of the Vineyard ; after the same,
A Village Festival ; after Teniers.
A Warrior ; half-length ; after Giorgione.
The Descent from the Cross ; after the picture in King's
College, Cambridge, by Daniele da Volterra.
The Philosopher ; after Jos. Wright.
The Sculptor ; after the same.
The Academy ; after the same.
The Continence of the Chevalier Bayard ; after Penny.
The Hermit ; after the same.
The Alchemist ; after the same.
PETIT, Giles EdmS, a French engraver, was
born in Paris in 1696, and died in 1760. He was
a pupil of J. Chereau, and engraved several plates
in the style of his instructor, the most esteemed
being his portraits. Among others, we have the
following prints by him :
PORTRAITS.
Francis I., King of France ; after Titian ; for the
Crozat Collection.
Louis Philip, Regent of France ; after Liatard.
Louis XV., King of France ; after C. van Loo.
Charles Edward Stuart, the Pretender ; after Dupra.
Philibert Papillon, Canon of Dijon.
Ren4, Charles de Maupeon, President of the Parliament.
Peter Bayle, Author of the Historical and Critical
Dictionary.
Maria Theresa, Queen of Hungary.
Armand Jules, Prince of Rohan ; after Migavd.
Henri Charles de Pompone, Abbfi of St. Medard.
Jean Fr^d6ric Philipeaux, Count of Maurepas.
Joachim Francois Potier, Duke of Gesvres.
The Disciples at Bmmaus ; after J. Andri.
The Visitation ; after the same.
The Virgin of the Rosary ; after the sam^.
St. Catharine of Siena ; after the same.
PETIT, Jean Louis, a French historical and
marine painter, was born in Paris in 1795. He
was a pupil of Maudevare and Regnault. He died
in 1876. Works :
Combat of Roland and Rodomont.
The Wreck.
PETIT, the Rev. John Louis, an English amateur
draughtsman, born in 1801. He was educated at
Trinity College, Cambridge, where he graduated in
1823 as a senior optime, and afterwards took holy
orders. Antiquarian pursuits were his delight, and
he drew the illustrations for his works and papers.
He was a member of the Institute of British Archi-
tects, and of the Arch^ological Institute. He also
produced a few good etchings. He died at Lich-
field in 1868. Amongst his publications were :
'Remarks on Church Architecture, with Illustrations.'
1841-5.
' Principles of Gothic Architecture as applied to Parish
Churches.' 1845.
' The Abbey Church of Tewkesbury.' 1848.
' Architectural Studies in France.' 1854.
PETIT, LjSonce, a French draughtsman and
illustrator, was born in 1839. He was a constant
contributor to the Salons after 1869, and to the
'Journal Amusant' and ' Le Monde Illustr6.' He
died in 1884.
PETIT, Louis, a designer and engraver, was
bom in Paris in 1760, and was a scholar of _N.
Ponce. He was much employed in designing
vignettes and other book illustrations, which he
etched with considerable ability. He died about
1812. Among his detached engravings the follow-
ing are most deserving of notice :
La Belle Jardiniere, jointly with Massard ; after Raphael.
The Infant Jesus asleep, finished by Boirinet ; after the
same.
Aurora ; after the same.
A Holy Family ; after the same.
St Eomualdus: after A. Sacchi ; finished by JJamSrane.
279
Petit
A BIOGRAPHICAL DICTIONARY OF
Petri
The dancing Nymphs ; after Van der Werff.
And several plates for Ligni's ' History of the Life of
Christ ' ; among which are the ' Transfiguration,' after
Eapliael ; and the ' Last Supper,' after Leonardo da
Vinci.
PETIT, Louis Mabib, a French water-colour
painter of still-life and miniatures, flourished at
Fontainebleau at the end of the 18th century. He
was a pupil of David and De Moitte. Works :
The School-boy and the Arts.
Landscape with Mill,
PETITOT, Jean, the elder, enameller and minia-
ture painter, was born at Geneva in 1607. He was
the son of a sculptor and architect, who designed
him for a jeweller, and having frequent occasion to
make use of enamel in that trade, he attained such
skill in colour, that he was advised to apply him-
self to portrait painting. He was patronized by
Charles I. and Louis XIV., and his extraordinary ;
ability was deserving of their protection. In com-
pany with Pierre Bordier, who afterwards became !
his brother-in-law, he visited Italy, where they both
resided some years. Petitot painted the heads and
hands, and Bordier the draperies and backgrounds. ;
In this division of labour they visited England,
and had the good fortune to form the acquaint-
ance of Sir Theodore Turquet de Mayerne,
physician to the king, who had, by experiment,
discovered how to get super-excellent colour in
enamel. Mayerne introduced Petitot to King
Charles I., who retained him in his service, and
gave him apartments at Whitehall. He painted
the portraits of that monarch and of his family,
several times. He copied several pictures after Van
Dyck, who assisted him with his advice. King
Charles often went to see him at work, as he took
great pleasure both in painting and chemical experi-
ments. The death of his royal protector was a misfor-
tune for Petitot, who did not quit the exiled family,
but followed them in their flight to Paris, where
he was looked upon as one of their most faithful
adherents. Charles II., during his abode in France,
took great notice of Petitot, and introduced him to
Louis XIV., who appointed him his painter in
enamel, and gave him apartments in the Louvre.
He painted that monarch several times, Anne of
Austria, his mother, and Maria Theresa, his queen.
Being a zealous Protestant, and dreading the con-
sequences of the revocation of the edict of Nantes
in 1685, Petitot begged the king's permission to
retire to Geneva. Louis, unwilling to part with so
favourite an artist, for some time evaded the de-
mand, and employed the celebrated Bossuet, bishop
of Meaux, to endeavour to convert him. This not
succeeding, Petitot was at length allowed to leave
France, after a residence of thirty-six years, and he
returned to Switzerland. He settled at Geneva,
but the crowd of admirers who came to see him
was so great, that he was obliged to quit Geneva
and retire to Vevay, where he continued to exercise
his art till he had reached the age of 84. He died
in 1691.
Petitot was the first artist to bring enamel paint-
ing to complete technical perfection. In the South
Kensington Museum {Jones Collection) there are
fifty-two enamel portraits which are certainly by
Petitot, while some eight or ten more are ascribed
to him with more or less justice. Among the
former several are scarcely to be equalled, certainly
not to be excelled, elsewhere. Among them we
may name six portraits of Louis XIV., and por-
traits of Sully, La Valliere, Vendome, Olympia
280
and Hortense Mancini, Richelieu, Mazarin, Mme.
de S^vign^, Moliere, ' La Grande Mademoiselle,'
Mme. de Montespan, the Duke of Orleans, Armand
de Meilleraye, Turenne, and Ninon de I'Bnclos. In
the Apollo Gallery of the Louvre are about sixty
of Jean Petitot's finest enamels, consisting of por-
traits of Louis XIV., of his family, of ladies of the
Court, and of the statesmen and military com-
manders of Pranee.
PETITOT, Jban Louis, the younger, the son of
Jean Petitot the elder, was bom in or about 1650.
He was instructed in enamelling by his father, but
studied further under Samuel Cooper, He settled
in London, where he exercised his art with con-
siderable success, and painted for Charles II. up
to 1682, when he removed to Paris. In 1695 he
returned to London, where eventually he died. His
works -are very inferior to thoseof his father, though
they possess great merit. A few of the best are in
the South Kensington Museum. Am^ong others he
painted :
Charles II.
Peter the Great,
Queen Catherine,
The Due de Berry,
The Due d'Anjou.
PETRAZZI, AsTOLFO, was a native of Siena, and
flourished about the year 1635. He was a scholar
of Ventura Salimbeni and Pietro Sorri, and, accord-
ing to Baldinucoi, painted some pictures for the
public edifices and private collections at Siena.
One of his principal works is the ' Communion of St.
Jerome,' at the Agostiniani at Siena, in which he
exhibits something of the style of the Carracci. He
excelled in painting children, whom he introduced
very happily into his emblematical subjects. Such
are his ' Pour Seasons ' in the Villa Chigi, at Volte,
which are admired for the playfulness and ingenuity
of the groups. He died in 1666.
PETRI, Hbinkich, was born at Gottingen in
1835. At the age of seventeen he entered the
Academy in Dusseldorf. In 1854 his first paid
work was a copy of a ' Madonna ' after Deger.
He was for a short time at Munich in 1857, and in
the following year proceeded to Rome, where he
studied the masters of the early Renaissance and
Overbeck. After his return he, in 1S61-2, painted
in encaustic in the convent chapel of Nonnen-
werth, particularly a ' Descent from the- Cross,'
which attracted general attention. In 1868 he
paid a second visit to Rome, in order to paint an
altar-piece for Lisbon. In 1870 w^e find him at
Diisseldorf producing a ' Virgin and St. John
weeping over the Body of Christ,' and in 1871 his
chef d'oeuvre, 'The Virgin as the Protectress of
poor Children.' He died at Diisseldorf in February
1872.
PETRI, Pietro de, was born, according to
Orlandi, at Premia, in the Novarese state, in 1671 ;
Zani, however, says he was born in 1663, and died
in 171'6. He studied at Rome, in the school of
Carlo Maratti, He painted history, and united
with the style of Maratti somewhat of the taste of
Pietro da Cortona. One of his principal works at
Rome is a picture of the ' Crucifixion,' in the church
of SS. Vincento ed Anastasio : he also painted
some frescoes in the tribune of San Clemente. We
have a few etchings by this artist from his own
designs, executed in the style of a painter, among
which are :
The Assumption of the Virgin.
San Lorenzo Giastiniauo.
Petrie
PAINTERS AND ENGRAVERS.
Peyron
Zani distinguishes him from Pietbo Antonio db
Petri, or Pitri, to whom Bartsoh has assigned four
engravings in addition to the two above named.
Zani says the latter was bom at Rome.
PETRIE, George, a landscape painter, the son
of Janies Petrie, was born at Dublin in 1789. His
art-training was gained in the school of the Dublin
Society. He was much devoted to antiquarian
pursuits, and furnished many drawings for the
illustration of works on Ireland. In 1810 he visited
Wales, and in 1813 London, in company with
Danby and O'Connor. In 1816 he exhibited at the
Royal Academy. In 1826 he was elected an as-
sociate of the Hibernian Academy, becoming a
full member in 1828, and subsequently president.
From 1833 to 1839 he was entirely employed on
the Ordnance Survey of Ireland, and took charge
of the topographical and antiquarian branch of the
work. In 1845 he visited Scotland. In 1847 he
received the honorary degree of D.C.L. from the
University of Dublin, and in 1849, a pension on the
Civil List. He resigned the presidency of the
R.H.A. in 1859, and died at Dublin in 1866. He
published much relating to archseology ; his
magnum opus is ' On the Ecclesiastical Architec-
ture of Ireland ; ' but in early life he contributed
many papers to the ' Dublin Examiner,' and similar
publications.
PETRIE, Jambs, a Scotch portrait painter of the
18th century, born at Aberdeen. About 1780 he
settled in Dublin, and obtained a good practice
there. In the troubled times of the Irish Rebellion
he was a firm loyalist, but nevertheless he painted
several members of the 'patriot' party, among
them Emmet, Curran, and Lord Edward Fitzgerald.
PETRINI, Cav. Giuseppb, an Italian painter,
born at Carono, in the Luganese, about 1700. He
was a pupil of Strozzi, and painted historical
subjects. He died about 1780.
FETTER, Anton, was born at Vienna in April,
1781. In 1808 he visited Rome, and in 1814
obtained admission to the Vienna Academy with
his ' Meleager murdered by his mother in his wife's
arms.' In 1820 he became professor to the Aca-
demy, and in 1828 director. He died at Vienna in
1858. His principal historical pictures are :
MaximUian's meeting with his Bride, Mary of Burgundy.
{In the Johanjieum at Gratz. )
Meeting of the same Eoyal Couple, the Oonsort holding
their little eon Philip in her arms, after the Battle of
Gainegate. (Belvedere.)
Joanna of Aragon by her husband's coffin.
Charles V.'s visit to Francis I.
Budolf of Hapsburg by Ottokar's corpse ; mth other
suijeets from, Pyrker's ' Rudolphias.'
FETTER, Franz Xaver, flower painter, was
born at Vienna in 1791, and died in 1866. He was
a pupil of Drechslerin the Academy, and afterwards
became a professor there. The Belvedere possesses
a ' Vase of Flowers ' by him ( 1833).
PETTIT, JosEi'H Paul, a landscape painter who
died at Balsall Heath near Birmingham in 1882.
He was a member of the Society of British Artists,
and an exhibitor at the Academy, British Institu-
tion, and SufEolk Street Exhibitions from 1845 to
1880.
PETTY, Robert, painter, was born in London
about 1740. He resided mostly in Hamburg, where
he painted birds, fruits, and flowers in water-colours.
He died in Holland in 1789.
PETZHOLDT, Ernst . Christian Frbderik,
landscape painter, was born at Copenhagen in
1805, and studied from 1825 at the Academy and
under Eokersberg. He won medals in 1827 and
1828, and in the following year travelled in the
Harz mountains. From 1830 to 1835 he was
occupied in a visit to Italy and Sicily, and went in
1836 to Munich, and thence to Italy a second time,
and to Greece, where he died suddenly at Patras in
1839. Among his best paintings are :
Sketch at Capri.
Hadrian's Villa at Tivoli. (Copenhagen Gallery.)
View from the Villa Pamfih.
View on the Pontine Marshes.
PETZL, Joseph, genre painter, was born at
Munich in 1803. After studying under Langer in
the Munich Academy, he placed himself under
Begas in Berlin, and afterwards set off on a journey
through Bohemia, Saxony, Hanover, Schleswig,
and Sweden. In 1832-4 he went to Rome, and, in
the suite of the King of Greece, to Constantinople.
He afterwards spent two years at Venice. He died
at Munich in 1871. His principal pictures are :
Greek Chieftains. (In possession of H.Jdnisch, Hamlmrg.)
Greek Wedding.
The Division of an Inheritance.
The runaway Daughter among Actors.
Slave-dealer and Eunuchs bringing Female Slaves be-
fore the Pacha. (Eosenstein, Stuttgart.)
The Novice (engraved by £ahl).
Scene in an Inn (lithographed by Letter).
Tyrolese Fugitives (lithographed by Zimmermann).
The Invalid (lithographed by Hohe),
The Crack Shot (lithographed by Bergmann).
PEUTEMAN, PiETEE, (or Nicolaas,) was born
at Rotterdam in 1650 or 1657. He excelled in
painting objects of still-life, such as musical instru-
ments, books, vases, &o. Balkema attributes his-
torical works also to him. His death is said to
have been occasioned by terror. One day in 1692
Peuteman fell asleep in the dissecting room of the
Rotterdam Hospital, where he was studying
anatomy. He was awakened by a movement a-
mong the bones and skeletons in the room, which
had been set in motion by a sudden earthquake.
Prom the fright thus caused he never recovered.
Peuteman engraved many of his own works.
PEYNATJD, Jacques Feanqois, was born at
La Fert^ St. Aubin in 1771. He was a pupil of the
Academy of Orleans, and of Girodet and Aubry,
and for eighteen years was director of the free
school of design at St. Malo. His principal works
are, the ' Martyrdom of St. Clement,' at Cauoales ;
' Souls in Purgatory,' atPleustuis ; and a portrait of
Maupertuis, now at St. Malo. He died at St. Malo
in 1829.
PEYRANNE, Philippe, a French painter who
flourished at 'Toulouse about 1780. He was a
pupil of Saa,u,p^re, and of David, and painted his-
torical and still-life pictures. Works :
Young Girls studying Art.
Martyrdom of St. Stephen. (Mouchy.)
PEYRE, Antoinb Fbanqois, an architect, and
brother of Matbieu Joseph Peyre ; he painted a few
pictures. He was born in 1739 ; died in 1823.
PEYRON, Jean FBAN901S Pierre, a French his-
torical painter and engraver, was born at Aix in
1744, and died in Paris in 1820. He was a scholar
of Arnulfi and of the elder Lagren^e. His subjects
are from the ancient poets, and from Greek and
Roman history, occasionally also from events oc-
curring in his own time, such as the death of
General Walhubert at the battle of Austerlitz. In
1773 he obtained with his ' Death of Seneca ' the
Grand Prix de Rome, and accordingly went to that
city, where he studied from the antique and from
281
Pfanstill
A BIOGRAPHICAL DICTIONAEY OF
Pforr
nature ; painting also his picture of ' Cimon allowing
himself to be taken Prisoner in order to see after
his Father's Faneral.' In 1781 he returned to
Paris, and was in 1787 admitted a member of the
Academy, with a picture of ' Dentatus,' now at
Fontainebleau. The greater number of his pictures
were executed between 1780 and 1800, but he con-
tinued to exhibit till 1812. He engraved several
subjects after Raphael, Poussin, and after his own
designs. He was director of the Gobelins Manu-
factory in 1787, and executed many cartoons for
that establishment. The Revolution caused him
much privation and suffering, which he bore with
exemplary patience. Works :
The Funeral of Miltiades. (Paris.
Alcestis and Admetus.
Paul Bmilius, the conqueror of Perseus.
PFANSTILL, LuDWiG, (Pfanstil, or Pfannen-
STIL,) a. painter and engraver who was born at
Vienna at the beginning of the 17th century, and
died at Frankfort in 1665. He painted portraits
and allegories, and engraved a ' Pieta ' in mezzotint.
PFEFFEL, JoHANN Andreas, a German en-
graver, was born at Bischoffingen in 1674. He re-
sided at Vienna, where he produced among other
plates a portrait of the Emperor Leopold. He after-
wards removed to Augsburg, where he followed
the business of a printseller. His works, as an
engraver, were chiefly coniined to architecture and
ornamental foliage, which he executed in a neat
style. In conjunction with C. Engelbrecht, he en-
graved a set of plates of jewellery ornaments, from
the designs of A. Morison ; and executed part of
the plates for the ' History of Architecture,' pub-
lished at Vienna in 1721 by John Henhard Fischers.
Scheuchzer's Bible was one of the works issued
from his establishment at Augsburg. Finally he
became Court engraver at Vienna, where he died
in 1750. His son Johann Andreas Pfepfel the
younger was bom at Augsburg in 1715, and died
in 1768. He also worked upon the plates of
Scheuchzer's Bible.
PFEIFFER, FRANgois Joseph, a portrait painter
and engraver, born at Aix-la-Chapelle in 1741.
He practised for many years at Amsterdam, but
late in life he settled at Brussels, where he died in
1807.
PFEIFFER, Fkanqois Joseph, a designer, en-
graver, and lithographer, the son of the preceding,
was born at Liege in 1778. For several years he
was engaged as a scene-painter at Amsterdam.
He died at Terburg in 1835.
PFEIFFER, Karl Hermann, an engraver, was
born at Frankfort in 1769. He studied at the
Royal Academy at Vienna, under the Professor Ch.
Brand. He worked with point and burin, in the
English manner, and was a very industrious artist.
He died at Vienna in 1829. His engravings are
numerous, particularly of portraits, which are
chiefly of German nobility, and persons of science
and letters, of his time. He also engraved after
some of the older Italian and other painters, such as
Raphael, Correggio, Fra Bartolommeo, Giuliano da
Parma, Sassoferrato, Rubens, Lampi, Oelenhainz,
and Fiiger. Among his plates we may mention :
Virgin with the Child and St. John ; after Raphael.
Venus and Cupid ; after Correggio.
Eubens's Portrait ; after Suhens.
PFENNINGER, Elizabeth, the niece of Hein-
rioh Pfenninger, was born at Zurich in 1772, and
died after 1836. She was a miniature painter, and
282
studied in Geneva under Boileau and Bouvier, and
in Paris under Renault and Augustin. Her minia-
tures are well-handled.
PFENNINGER, Heinrioh, a Swiss painter and
engraver, born at Zurich inl749. He was a scholar
of Jan Balthasar Bullinger, under whom he spent
five years, and afterwards went to Dresden, where
be worked under Zingg and Graf, and by virtue of
his access to the Electoral Gallery, devoted himself
to a study of the best masters, particularly Van
Dyck and Rembrandt. On his return to Switzer-
land, he was engaged by Lavater to make the
designs and engrave some of the plates for his work
on Physiognomy. In 1795 he visited Paris, and
in 1808 Hungary. He died in 1815. He was
much employed as a portrait painter, and has
etched a great number of plates of portraits and
views in Switzerland. He engraved some of the
portraits for Fiissli's ' Supplement to the Lives of
the Swiss Painters.' We have also the following
by him :
A set of seventy-five Portraits of Illustrious Personages
of Switzerland, accompanied with an abridged history
of their lives by Leonard Meister. 1781.
Thirty-four Portraits of the most celebrated German
Poets, with their characters, by L. Meister. 1785.
A set of six Views in Switzerland.
He signed his work Z?. iy. ; H.Ff. fecit; Heinr.
Pf. ; and Pfen. fee.
PFENNINGER, Johannes, painter and engraver,
was born at Stafa, by Lake Zurich, in 1765. Ha
learnt engraving under H. von Mechel in Basle,
and painting in Rome (1794-9). After this he re-
turned to Zurich and occupied himself on portraits,
principally miniatures in water-colour. He died
at Zurich in 1825. Among his works are :
The first Navigator (engraved, hy Hegi).
The Laocoon Group, in sepia.
The Dismissal of Hagar ; the same.
The Crucifixion ; after Michelangelo ; in Indian ink.
PFLUG, Johann Baptist, genre painter^ was
born at Biberach in 1785, and studied at the Munich
Academy in 1805-9. After this he became a
teacher of drawing in his native town, and devoted
himself to painting humorous scenes from the
popular life of Upper Swabia, and also military
pictures and a few portraits. He died at Biberach
in 1865. Several of his works are at the Rosenstein,
near Stuttgart. Noticeable among his productions
are :
A Peasants' Wedding.
The Gip.sy Family.
The Gamesters.
The Village Alehouse.
"Washing Day.
The Battle of Stookach. 1842.
Distribution of Medals to Veterans. 1843.
Austrian Hussars. 1844.
March of the Bussiaus from the Waldsee.
PFORR, Franz, historical painter, was born at
Frankfort-on-the-Maine in 1788. He was the son
of the better known Johann Georg Pforr. His
first master was his uncle, Tischbein, the in-
spector of the Cassel Gallery. In 1805 he went
to the Academy of Vienna, and studied under
Fiiger, and it was there that he made the acquaint-
ance of Overbeok. In 1810 he went to Rome.
Cornelius, too, entered into friendship with Over-
beck and Pforr, and both of these artists, who
outlived Pforr, spoke in high terms of his talent,
and confessed themselves indebted to the taste
which he always displayed in his works. Pforr
Pforr
PAINTERS AND ENGRAVERS.
PhiUip
died at Albano in 1812. His subjects were taken
from Scripture, from German legends, or from
his own fancy. The Stadel Institute has a picture
by him entitled ' Rudolf of Hapsburg presenting
his Horse to an Ecclesiastic'
PFORR, JoHANN Geoeg, animal painter and
etcher, was bom at Upfen, near Eisenach, in 1745.
He was working at the mine at Richelsdorf, when
the Hessian minister, Waitz, discovered his talent,
and placed him in his own porcelain factory. In
1777 he entered the Academy at Cassel, where in
the following year he obtained the first prize, and
in the next year was admitted a member. In 1781
he settled in Frankfort, where he died in 1798.
He had a passionate fondness for horses, which led
him to paint them with a success hardly sur-
passed. He worked well in sepia and Indian
ink, and was a good etcher; but he could not
render the human figure with freedom. The Stadel
Institute at Frankfort possesses eight of his pictures.
PFRtJNDT, GEone, (or Pfrdnd,) was bom at
Plachslanden, in Bavaria, in 1603, and died at
Diirlach in 1663. According to Sandrart, he en-
graved a considerable number of architectural and
geographical subjects. He was an engineer,
sculptor, modeller in wax, and steel engraver, and
served the Duke of Weimar in the first of these
capacities.
PHEIDIAS, the celebrated sculptor, who was
born at Athens about 500 B.C., and died about 430,
is said by Pliny to have painted at Athens a picture
of Pericles as the Olympian Jupiter.
PHELPS, RiCHAED, a portrait painter who prac-
tised in England in the first half of the 18th century.
J. Faber engraved after him a portrait of Bampfield
Moore Oarew.
PHILESIUS, RiGMANN, a German engraver on
wood, resided, according to Papillon, at Strasburg
in the beginning of the 16th century. He executed
a set of twenty-five cuts of the Life and Passion of
our Saviour, published at Strasburg, by John
Knoblauch, in 1508. He was also a carver of wood.
Zani notices him under the names Migman, Phi-
lesivs, and Philery, or PhiUery.
PHILIP IV. of Spain (1605-1665) was an
amateur painter. He produced among other pic-
tures a ' St. James with the Lamb,' ' Jesus with St.
John,' and a ' Magdalen in the Desert.' Philip V.
(1683-1746), according to Palomino, was also an
amateur artist, drawing in pen and ink with skill
and facility.
PHILIPPE, Jean B. C. See Chatelain.
PHILIPPE, PlETEB, was a Dutch engraver, who
flourished at the Hague about the year 1660. We
have by him a few plates of portraits and festivals,
among which are the following :
POETEAITS.
Loais Henri, Prince of Nassau ; P. Philippt fee.
Henri Charles de la TremouiUe, Prince de Tarente ;
ajter Van der Bank.
SUBJECTS.
The Assembly of the States-General of Holland ; after
Tomvliet.
A grand Festival ; after the same.
A set of Merry-makings ; after Van der Venne. 1600.
PHILIPPI, Heineioh, was born at Gleves in
1838, and studied in Dijsseldorf, Munich, and
Rome. He joined the German forces in 1866 and
1870-1 as a Landwehr oflScer, and at Koniggratz
was wounded in the foot. After leaving the army
he devoted himself entirely to art, and produced
historical, genre, and animal pictures. An early
death at Dusseldorf in 1874 interrupted his success-
ful career. Among his best compositions are :
Thusnelda in the Triumph of Germanicus.
Scenes from the Peasant "War.
Scenes from the Life of the Eomans and Pompeiaus.
Soldiers of the Landwehr returning home.
Choice Ewes.
PHILIPPOTEAUX, Henei Emmanuel Felix, a
French battle painter, was bom in Paris in 1815.
He studied art under Leon Cogniet. He painted
military scenes with great success, though some-
times with a curious dryness. Late in life he pro-
duced one or two excellent panoramas. He died in
Paris in 1885. Works :
ChassLurs d'Afrique at Balaclava.
Rivoli.
Moutebello.
The Death of Turenne.
The Retreat from Moscow.
Surrender of Antwerp.
Henry IV. and Sully at Ivry.
The English Cavalry at Balaclava.
The English squares at Waterloo receiving the French
Cuirassiers. {South Kensington Museum.)
Battle of Fontenoy. (South Kensington Museum^
PHILIPS, Ghaeles, an English portrait painter,
the son of Richard Philips, was born in 1708. His
practice was among the nobility, and he had a
large clientele at an early age. He married in
1738, and lived in Great Queen Street, St. Giles's.
His portraits are generally of a small size, and
though well painted and good likenesses, do not
show him to have been possessed of any high art
qualities. This is especially evident in his portrait
groups. Several of his portraits have been en-
graved. He died in 1747. Works :
KnolePark. Lady Betty Germaine. 1731.
Knowsley Hall. Wilson, Bishop lof Sodor and
Man.
London. National yWaxbaiton, Bishop of Glou-
Portrait Gallery. ) cester.
Thornton-le- Hall. Duke of Cumberland and Lord
Street. Cathcart.
„ „ The Family of Lord A. Hamil-
ton. 1731.
Wobum Abbey. The Second Duke of Marl-
borough. 1731.
PHILIPS, RiCHAED, an EngliRh portrait painter,
born in 1681, who enjoyed a large practice in the
early part of the 18th century. He died in 1741.
Amongst his works are :
London.
Woburn Abbey.
Ironmongers' | g;^ jj q^q^^
Sail.
Unknown male Portrait. 1731.
PHILLERY, Anton, an old engraver on wood,
lived at Antwerp about 1530, and has left a middle-
sized print representing two soldiers standing
before a woman, who is seated, holding a dog
upon her lap. It bears the following inscription
in old Flemish characters, ffi=[)£ptint t'mnttnetptn Jb
me IBI&tllers ire figursnittfr, printed at Antwerp, hy
me PhiUery, thejigure-cutter. There is also known
a 'Genealogia illustrissimse Domus Austrise' by
him.
PHILLIP, John, was bom at Aberdeen April
19th, 1817. His parents were of humble condition,
but from his youngest days he showed a strong
inclination for art. He was apprenticed early in life
to a house painter, where he made his first effort
in art by trying to copy a portrait of Wallace
from a sign-board which hung on the opposite side
of the street. He is said to have received some
283
Phillip
A BIOGRAPHICAL DICTIONARY OF
Phillips
instruction from Mr. Forbes, a local portrait painter,
but in 1834 he went to London as a stow-away on
a brig belonging to a friend of his father. On
arriving in London he was kept hard at work, but
contrived to visit the exhibition of the Royal
Academy at Somerset House. He attracted the
notice of a Major Pryse Gordon, who recommended
him to Lord Panmure, by whose generosity he was
placed as a pupil with T. M. Joy. In 1837 he
entered the Academy as a student, and in 1839 he
exhibited two pictures, 'A Moor' and a portrait.
In 1840 he exhibited his first subject picture,
'Tasso in disguise, relating his persecutions to
his Sister,' and in the same year he returned to
Aberdeen, where he was principally employed in
painting portraits. In 1846 he again sought Lon-
don, where he continued to have his domicile till
his death. In 1847 he exhibited at the Academy
'A Presbyterian Catechising,' and at the British
Institution 'Courtship' and 'The Grandfather.'
In 1848 he exhibited a 'Scotch Fair'; in 1849,
' Drawing for the Militia ' ; in 1850, ' Baptism in
Scotland,' and in 1851, 'Scotch Washing," 'The
Spae Wife,' and ' A Sunbeam.' In this year he
went to Spain and lived for a time at Seville,
where he made numerous sketches, and began
several pictures, one of which, ' The Spanish Gipsy
Mother,' was purchased by the Queen on the
recommendation of Sir E. Landseer. He also
painted for Her Majesty ' The Letter- Writer of
Seville.' In 1856-67, in company with his friend
Richard Ansdell, he made a tour through Spain,
and in 1857 sent home to the Academy ' Charity '
and ' The Prison Window ' ; and in the same year
he was elected an Associate of the Royal Academy.
In the year 1858 he painted ' Spanish Contraban-
distas' for the Queen, a portrait of the Prince
Consort for the city of Aberdeen, ' Bl Cortejo,' and
'Youth in Seville.' In 1859 he became a full
Academician, and exhibited ' Huff,' and a portrait
of A. L. Egg, R.A. In 1860 was exhibited his
picture of ' 'Ihe Marriage of the Princess Royal,'
ordered by the Queen, and ' Prayer,' his diploma
picture ; and in the autumn of the same year he
was again in Spain. In 1861 he exhibited 'Gossips
at a Well'; in 1862 'Doubtful Fortune,' or 'The
Fortune-Teller,' ' A Spanish Volunteer,' ' Water
Drinkers,' and 'Dolores.' In 1863 was exhibited
his ' House of Commons,' painted for the Speaker,
Mr, Denison, afterwards Viscount Ossington, repre-
senting a debate on the French Treaty, 1860 ; and
' Agua Bendita.' In 1864 appeared ' La Gloria — a
Spanish Wake,' and a portrait of the Earl of
Dalhousie; and in 1865 'The Early Career of
Murillo, 1634.' In 1866 he produced a portrait of
Duncan McNeill, of Colonsay, Lord Justice of
Scotland, and ' A Chat round the Brasiero.' In the
spring of this year he went to Rome, for the winter,
but ill health brought him back to London, where
be was attacked by paralysis, and died February 27,
1867. Phillip married a sister of Mr. Richard Dadd.
A large collection of his works was exhibited at the
London International Exhibition in 1873. Besides
those already mentioned we may name :
The Brig Manly. 1834.
Portrait of himself at the age of twenty-three. 1840.
Sketch portrait of Sir J. B. Millais, Bt., E.A. 1843.
(2'. Oldham Barlow, Esq., B.A.)
The Miller's Daughter. 1847.
Girl tending Cattle. 1850.
The Gipsy Queen. 1853.
The Highlander's Home. 1855.
284
Richard Ansdell, B.A. 1856.
S. Bough, A.E.S.A. 1856.
The Evil Eye. 1858.
H.E.H. The Princess Beatrice. 1860.
The Toilet. I860.
A Spanish ■Widow. 1861.
La Bomba, or the Wine-Drinkers.
The Grape-Seller. Seville. 1862.
La Loteria National. 1862.
Breakfast in the Highlands. 1865.
A large number of his unfinished pictures were sold
after his death ; among them :
Spanish Boys playing at Bull-Fighting. (Scottish
JVational Gallery)
PHILLIPS, Chaeles, a mezzotint engraver, was
born in 1737. He studied in London, and was in
1765 employed by Boydell. The latest date known
on his works is 1770. He worked also in the dot
manner. We have, among others, the following
prints by him :
Portrait of the Daughter of N. Hone, E J..
A Boy holding a Pigeon ; after Mola.
A Woman plucking a Fowl ; after Bemhrandi.
The Philosopher ; after the same.
The Holy' Family; after Farmigiano,
Venus and Oupid ; after Salviati.
Isaac blessing Jacob ; after Spagnoletto.
And others, after Loutherboarg and Sir Joshua Eeffnolds.
PHILLIPS, Giles Firman, an English landscape
painter, born in 1780. His practice was confined
to river scenes, and, living at Greenwich, these
were chiefly furnished by the Thames. He ex-
hibited at the Academy from 1836 to 1858, and
published ' Principles of EfEect and Colour' (1838),
and 'Practical Treatise on Drawing' (1839). He
died March 31, 1867.
PHILLIPS, Henry Wtndham, an English por-
trait painter, born in 1820. He received his art
instruction from his father, T. Phillips, R.A., and
exhibited at the Academy from 1839 to 1868.
Though his works were chiefly portraits and he
had a large circle of sitters, he painted a few
Scriptural subjects. For several years he was
secretary to the Artists' Benevolent Institution. He
died December 5, 1868. Amongst his works are :
Loudon. GarricTc Club. Charles Kean as Louis XI.
" C.-5"r{j«°''-'Stephenson. 1866.
PHILLIPS, S., an English engraver, practising
in London at the close of the 18th century. Amongst
his plates are :
The Birth of Shakespeare ; after Westall.
The Guardian Angel ; after Maria Comay.
PHILLIPS, Thomas, a well-known portrait
painter, was born at Dudley, in Warwickshire, in
1770. He was placed with Eginton, tlie glass
painter, at Birmingham, and came to London in
1790 with a letter of introduction to Benjamin West,
who employed him on the windows in St. George's
Chapel at Windsor. In 1792 he commenced as an
exhibitor, with a ' View of Windsor Castle ' ; and in
the two following years he exhibited the ' Death of
Talbot, Earl of Shrewsbury, at the battle of Cas-
sillon,' ' Ruth and .Naomi,' ' Elijah restoring the
Widow's Son,' ' Cupid disarmed by Euphrosyne,'
and other subject pictures. Soon afterwards he
devoted himself chiefly to portrait painting. Not-
withstanding that he had to compete with Hoppner,
Owen, Jackson, Lawrence, and Beechey, he kept
steadily progressing in public favour, and seemed
to be the selected painter for men of genius and
Philochares
PAINTERS AND ENGRAVERS.
Fiazza
talent. In 1804 he was elected an Associate of the
Academy. In 1806 he painted the Prince of
Wales, Lord Bgreniont, the Marquis of Stafford,
and the Stafford Family. In 1808 he became an
R.A.,-and in 1824 succeeded Henry Fuseli in the
professorship of painting, which office he held till
1832. On his appointment to the professorship he
made a tour in Italy, in the company of Hilton, in
order to enable him to discharge the duties of the
office more efficiently. He delivered ten ' Lectures
on the History and Principles of Painting,' which
he afterwards published in one volume (in 1833).
These lectures are clear and simple in their style,
and instructive in substance and arrangement,
especially in those parts where he gives an exposi-
tion of his views of the principles of art. He died
in London, April 20, 1845. In 1802 he painted by
stealth, but with the connivance of Josephine, a
portrait of Napoleon which is now at Petworth ;
it has been engraved. Phillips wrote many of the
articles on the fine arts in Rees's Cyclopedia, and
in other publications. He was one of the great pro-
moters of the Artists' General Benevolent Institu-
tion. His Diploma picture at Burlington House is a
' Venus and Adonis.' The following portraits were
painted nearly in the order in which we give them.
Lord Thurlow.
William Blake {engraved ly Schiavonetti).
Lord Byron {twice).
Count PlatofE.
The poet Crabbe.
Earl Grey.
Lord Brougham.
Sir Joseph Banks,
Joshua Brookes, the celebrated lecturer on surgery.
Major Denham, the African traveller.
Lord Stowell.
Sir B. Parry.
Sir J. Brunell.
David Wilkie. {Nov) in the National Gallery^
Sir F. Burdett.
Lord Lyndhurst.
Dr. Arnold.
The Duke of Sussex.
Sir Nicholas Tlndal, Chief Justice of the Common
Pleas.
Dr. Shuttleworth, Bishop of Chichester.
Sir "Walter Scott, Thomas Moore, Thomas Campbell,
Southey, and Coleridge, /or Mr. Murray.
Dr. Bucklaud.
Professor Sedgwick.
Davies Gilbert.
Mrs. Somerville.
Mr. Hallani, the historian.
Francis Baily, the astronomer.
Michael Faraday.
Sir Humphrey Davy.
Himself.
PHILOCHARES, abrother of the orator ^schines,
was one of the last of the Greek painters previous
to the decline of the art in the 3rd century B.C.
Another painter of the same name is mentioned by
Pliny as the author, about 50 B.C., of a 'Glaucon
and his Son,' for the comitia.
PHILOXBNBS, a native of Eretria, was a dis-
ciple of Nicomachus, and adopted the expeditious
style of his instructor. According to Pliny, he
painted for Cassander a picture representing the
'Defeat of Darius by Alexander,' which was con-
sidered one of his most important works.
PHRYLUS, an ancient Greek painter of some
repute, is mentioned by Pliny as a contemporary
of Aglaophon the younger, Cephisodotus, and
Evenor. He flourished about 420 B.C.
PIACENZA,Bartolino da. This name is found on
some wall-paintings, executed in the 14th century,
in the Baptistery at Parma. The town of Piacenza
also possesses some works attributed to the same man.
PIAGALI, Peancesco, a native of Saragossa,
who flourished in the 17th century, and is placed
by Palomino among the good Valencian painters.
PIAGGIA, Teramo, (or Eeasmo da Zoagli,) was
a native of Zoagli, in the Genoese state, and flour-
ished about the year 1547. He was a disciple of
Lodovico Brea. In conjunction with Antonio
Seraini, he painted several works for the churches
at Genoa, of which one of the best was a ' Martyr-
dom of St. Andrew.'
PIANE, Giovanni Mabia dalle, a painter called
Molinaretto, was bom at Genoa in 1660. He
studied at Rome under G. B. GauUi, and painted
historical pictures and portraits. He visited Parma
and Piacenza, and Charles Bourbon of Naples
appointed him court painter. He died in 1745.
PIANORO, II. See Mobelli, Baetolommeo.
PIASTRINI, Giovanni Domenico, was an his-
torical painter of Pistoia, and flourished at the
beginning of the 18th century. He was a pupil of
Luti. He painted several frescoes in the porch of
the Madonna della Umilta, at Pistoia, and also
worked in S. Maria in Via Lata, at Rome.
PIATTI, Francesco, is said by Fuessli, in his
Supplement, to have been born at Teglio, in the
Valteline, in 1650. He does not acquaint us by
whom he was instructed, but informs us that he
painted a great number of altar-pieces and pictures
for the churches and galleries of the neighbourhood,
and highly commends a picture of ' Cleopatra,' by
him, in the possession of a noble family at Delebio.
Zani says he was living in 1690.
PIA'TTOLI, Gaetano, a Florentine painter, was
born in 1703. He was a pupil of Riviere, a French
painter, and painted portrait? and mythological
scenes. He died about 1770. His wife Anna was
also a portrait painter, and died in 1788.
PIAZZA, Albeetino, commonly called Toccagni,
was living at Lodi in the 16th century, and died
there in 1529. He was the father of Calisto Piazza,
commonly called Calisto da Lodi, and had a brother
called Mabtino Piazza, with whose co-operation
he painted all his pictures. Their first authentic
altar-piece is in the Berinzaghi Chapel, in the
church of the Incoronati, at Lodi. It is in two
stages, and represents the • Virgin and Child,
between Saint Anthony and the patron ' ; and the
' Crucifixion, between SS, Roch, Sebastian, James,
and John Baptist ' ; the predella contains the twelve
apostles. The two brothers likewise are the authors
of the fresco decorations in the same chapel.
Martino is said to have died in 1527. The following
are also their works :
Castiglione S. M. In- \ Virgin and Child between SS
d'Adda. coronata. J Boch and John Baptist.
Lodi. S. Agnese. St. Augustine in Glory, and
other subjects.
In the National Gallery there is an example of
Martino Piazza, a ' St. John the Baptist in the
Wilderness,' which is signed with the painter's
monogram.
PIAZZA, Cavaliere Andeea, was the nephew of
Cosimo Piazza, by whom he was instructed in the
art, and he accompanied his uncle to Rome, where
he had the advantage of studying after the great
masters. He passed some years in the service of
the Duke of Lorraine, and on his return to Venice
painted a large picture of the ' Marriage at Cana,'
for the church of Santa Maria, which, according
to Lanzi, is his most celebrated work. He died at
285
Piazza
A BIOGRAPHICAL DICTIONARY OF
Pieart
Venice in 1670. There is a picture by him dated
1649.
PIAZZA, Bebnaedino, a painter of Lodi, and
father of Albertino and Martino Piazza. No work
of his is known to exist.
PIAZZA, Calisto, called Calisto da Lodi, was
the son of Albertino Piazza, and a pupil of
Romanino. He practised his profession at Brescia,
and paintings by him are known that were executed
between 1521 and 1556. In 1529, after his father's
death, he went to Lodi, where he joined in partner-
ship with his brotliers, and with their united aid
finished the altar-piece in the cathedral of Lodi,
representing the 'Massacre of the Innocejits,' and
other subjects, left incomplete by Albertino's death.
He also worked in the churches at Breno, Erbano,
Edolo, and Crema, all of which possess altar-pieces
by him. In 1544 he went to Milan, and decorated
the monastery of San Maurizio with a series of
frescoes showing great power and freedom. Many
of the churches and private collections in Brescia
possess examples by this master. The following
also remain :
Milan. Brera. Marriage of Cana in Galilee.
„ „ Madonna, Child, and Saints.
Vienna. Mehedere. Decollation of St. John the
Baptist.
PIAZZA, Mabtino. See Piazza, Albeetino.
PIAZZA, Paolo Piazza, called Padre Cosmo,
was born at Castel Franco, in the Venetian terri-
tory, in 1557, or, according to Zani, in 1547. He
was a scholar of the younger Palma, although he
did not imitate the style of that master, but formed
a manner of his own. He had acquired consider-
able reputation as a painter of history, when he
became a Capuchin, friar, and took the name of
Padre Cosimo. He continued, however, to exercise
his talents as a painter, and in the pontificate of
Paul V. visited Rome, where he executed several
considerable works for the churches and public
edifices, particularly a picture of the ' Deposition
from the Cross,' in the Capital, and the ' History of
Antony and Cleopatra,' in a saloon of the Palazzo
Borghese. He was invited to the court of Germany
by Rodolph II., by whom he was employed for
some years, and on his return to Venice was
patronized by the Doge Antonio Priuli. He died
at Venice in 1621.
PIAZZETTA, Giovanni Battista, was born at
Venice in 1682. He was the son of a sculptor in
wood, by whom he was taught the rudiments of
design, and then studied under G. B. Molinari. On
visiting Bologna he was so struck with the extra-
ordinary effect of the works of Guercino, that he
adopted him as his model. He became first director
of the Acadenjy of Venice in 1750, and was enrolled
an honorary member of the Clementina Academy
of Bologna. He died at Venice in 1764. One of
his best pictures is the ' Decollation of St, John,' in
the church dedicated to that saint, at Padua, His
pictures partake of the fluttered manner of his con-
temporary, Tiepolo. He is best known in England
by his chalk drawings of heads, which are not held
in great estimation. He was successful, however,
in caricature. He may be reckoned among the
last of the Venetian painters of any note. Pitteri
and others have engraved after him, and mention
is made by Nagler of two etchings by himself.
PICARD, AijEXANDBE Noel, a French painter,
born in Paris in 1813. He chiefly painted land-
scapes. He died in 1869.
236
PICART, Beenaed, an engraver, and the son of
Etienne Pieart, was bom in Paris in 1673. He was
instructed in design and engraving by his father,
but obtained further help from Le Brun and
Jouvenet. At the age of sixteen he gained honours
at the Academy of Paris. He distinguished him-
self both as designer and engraver, and executed
a vast number of plates. He used both the point
and the burin ; but in his larger plates the exe-
cution was not equal to the drawing, and his later
productions were inferior to his earlier ones. His
works chiefly consist of plates for books, and other
ornamental engravings. In 1710 he left Paris, and
settled at Amsterdam, where he was greatly em-
ployed by the booksellers, and died there in 1738.
He engraved a set of seventy-eight plates in
imitation of the difierent styles of the old engravers,
which were published after his death, in 1738, in
one volume, entitled ' Les Impostures Xnnocentes.'
The following are his most esteemed works :
POETEAITS.
Charles I. j after Van Syck. VIM.
Charles II. ; after Kneller. 1724.
James II. ; after Largilliere. Vi24i.
William III. ; after Van der JVerf.
George I. ; after Kneller.
Edward Hyde, Earl of Clarendon ; after Zoust. 1724.
■William, Lord Eussell ; after Kneller. 1724.
Frederick, Duke of Schomberg ; after the same. 1724.
Gilbert Burnet, Bishop of Salisbury ; after Hoadly. 1724.
Eugene Francois, Prince of Savoy ; after Van Sehuppen.
1722.
Don Luis, Prince of the Asturias.
Jan de "Wit, Grand Pensionary of Holland. 1727.
Fran9ois Pierre, Cardinal de Foix. 1713.
Philip, Duke of Orleans, supported by Minerva and
Apollo; after A. Coypel. 170S.
Etienne Pieart, the Roman, Engraver to the King.
Roger de Piles ; ipse pinx. B. Ficartfec. aquaforrti. 1704.
SUBJECTS FBOM HIS OWN DESIGNS.
The Murder of the Innocents, The first impressions are
before the crown was placed upon the head of Herod.
A set of twelve Prints, called the Epithalamia.
Truth, the Research of Philosophy ; a Thesis in honour
of Descartes.
The Triumph of Painting.
The Death of Niobe's Children.
The Feast of the Gods and the Cjesars.
A set of Prints for the Annals of the Dutch Republic.
The Frontispieces to ' C&6monies Religieuses,' 11 vols.
1723 — 1743 ; and to various other works.
SUBJECTS AFTEB VAEIOUS MASTER?.
Time discovering Truth ; after the picture 5y Pmsdn,m.^
the Louvre.
An Allegory on human Life ; aftex the same.
Arcadia ; after the same.
Two Muses, Calhope and Terpsichore; after J^ Sueur.
Abraiham dismissing Hagar ; after Le Brun.
The Discovery of Calisto's shame ; after Ann. Carracci.
Neptune calming the Sea; after An. Coypel.
PICART, Chables, an English engraver and
draughtsman, born about 1780. He practised in
London, and died about 1837. Specimens of his
work will be found in :
Dibdin's ' Decameron.'
' Description of the Ancient Marbles In the British
Museum.'
Lodge's ' Portraits.'
He also engraved several dramatic portraits after
Clint and Wivell.
PICART, Etienne, called ' Le Remain,' was born
in Paris in 1632, After a long sojourn in Rome
he was employed, with several other artists, to
Picart
PAINTERS AND ENGRAVERS.
Pioenardi
engrave the pictures in the King of France's col-
lection. His plates are sometimes executed with
the burin only, in the style of Poilly ; but he also
engraved a few in which the point is predominant.
He died at Amsterdam in 1721. His prints are
extremely numerous ; the following are the most
deserving of notice :
POETEAITS.
Jean Fran9ois Paul Gandy, Cardinal de Eetz. 1652.
Bust of Cardinal Fachenettus ; after Morand.
Melchisedeck de Thevenot, the traveller ; after Chaveau.
Nicolas Ohoart de Busenval, Bishop of Beauvajs.
Claude de Brion, President of the Parliament.
Pierre Loisel, Doctor of the Sorborme.
Fran^oise Athenais de Eooheohouart, Marquise de
Montespan.
SUBJECTS AFTEE VAEIOUS MASTERS.
The Eoce Homo, vrith three Angels ; after Albani.
The Birth of the Virgin ; after Guido.
The Marriage of St. Catharine ; after Correygio.
Triumph of Virtue; after the same.
Triumph of Vice ; after the same.
St. Cecilia; after Domenichino.
A Concert of Music ; after the same.
The Infant Jesus sleeping, with the Virgin holding up
her finger to St. John ; called ' Silenzio ' ; after Ann.
Carracci,
The Holy Family ; after Palma. ,
The Parting of SS. Peter and Paul ; after Zanfranco.
The Plague among the Philistines ; after JV. JPoussin,
Christ curing the Blind ; after the same.
The Adoration of the Shepherds ; after the same.
The Martyrdom of SS. Gervais and Protais ; after Le
Sueur.
St. Paul burning the Books of the Ephesians ; after the
same.
The Martyrdom of St. Andrew ; after Ze JBrun.
The Stoning of St. Stephen ; after the same.
The Adoration of the Magi ; after Courtois.
The Virgin and Infant ; after Noel Goypel.
St. Anthony of Padua adoring the Infant Jesus; after
Van Dyck.
PICART, Jean, was a French engraver, who
resided in Paris about the year 1640. He is sup-
posed to have been a pupil of Crispin van de Pass,
as he engraved from the designs of that master,
and imitated his style, though not very success-
fully. He appears to have been principally em-
ployed in engraving ornaments for books, and a
few portraits. We have by him a portrait of
Edward, prince of Portugal, a half-length, with
emblems ; that of Erasmus, a whole-length, forming
the frontispiece to an edition of part of his works,
published in Paris in 1639 ; and several other plates
for books, &o.
PICART, Jean Michel, was a Flemish painter,
born about 1600. He painted flowers and land-
scapes, but his chief employment was selling
pictures. He established himself in Paris, where
he employed many young artists to make copies
which he sold as originals. He died in 1682.
PIGAULT, Pierre, a French engraver, was born
at Blois in 1680. It is probable that he was a pupil
of Gerard Audran, as he copied, on a small scale,
the celebrated ' Battles of Alexander,' from the
plates engraved by that artist, after Le Brun. He
also engraved some portraits, and the ' Visitation
of the Virgin to St. Elisabeth,' after Carlo Maratti.
He died young in 1711. He usually signed his
plates P. Picault, Blesensis, sculp.
PICCHI, Giorgio, a painter of Castel-Durante,
who flourished about 1569. He sojourned for a
time in Rome, where he was employed in the
Vatican. He worked in the manner of Baroccio.
PICCHIANTI, Giovanni Domenico, an Italian
designer and engraver, was born at Florence about
1670. He was taught the rudiments of drawing
by G. B. Foggini, a sculptor, and applied himself
to engraving, both with the point and the burin.
In conjunction with Lorenzini, Mogalli, and other
artists, he executed several plates from the pictures
in the Gallery of Florence. We have, among
others, the following prints by him :
POETEAITS.
Sebastiano del Kombo ; after Titian.
Cardinal Bentevoglio ; after Van Dyck.
Pope Leo X. with the Cardinals Kossi and Giulio de'
Medici ; after Raphael.
SUBJECTS AFTER VAKIODS MASTEKS.
The Madonna della Seggiola ; after Raphael.
The Virgin and Infaut Jesus, with St. John ; after Ann.
Carracci.
The Tribute Money ; after Titian.
The Virgin and Child ; after the same,
Abraham sending away Hagar ; after Pietro da Cortona
PICCINI, GlACOMO, an engraver, was born at
Venice in 1617, but it is not known by what master
he was instructed. Zani says he was still working
in 1669 ; but the latest date on his prints is 1665.
We have several plates by him, executed in a stiff,
disagreeable style ; among them a set of thirty
portraits of the principal painters of the Venetian
school for the account of their Lives published by
Ridolfi in 1648. We have also the following prints
by him :
The Portrait of Alessandro Farnese.
Diogenes, with his Lantern ; after F. Liheri.
The Holy Family ; after the same.
Judith, with the Head of Holofernes at her feet ; after
Titian.
The Holy Family ; after the same.
PICCINI, GuGLiELMO, was the brother of Giacomo
Piccini, and among other prints etched a plate after
a ' Piet4,' by Rubens. He bad a daughter, Isabella
Piccini, who was a nun, and engraved a set of
portraits of the illustrious personages of Italy, for
the ' Conohilia Celeste ' of G. B. Fabri.
PICCININO; Niocol6, an obscure Milanese
painter, who was at work at Milan about 1500.
PICCIONI, Matteo, an Italian painter and en-
graver, was born at Ancona probably in or about
1615. Of his works as a painter little is known ;
but he was made a member of the Academy of St.
Luke in 1666. We have a few spirited etchings by
him, two of which are dated 1641. The following
are among them :
St. Luke painting the Virgin ; after Raphael.
The Adoration of the Shepherds ; after Paolo Veronese.
The Holy Family ; after the same.
The Virgin and the Infant Jesus, with St. John ; after
A. Gamxtssei.
Moses exposed on the Nile ; after the same.
PICCOLA, NiocoLA La, u native of Crotona, in
Calabria, He was born in 1730, and worked in
Rome, where he painted some decorative pictures
in the Vatican, which have since been copied in
mosaic. Some of his work is also to be seen at
Velletri,
PICENARDI, Caelo. Two artists of this name
painted in Cremona early in the 17th century. One
was a pupil of Lodovico Carracci, and painted
church pictures and burlesque histories. These
were imitated by the other Picenardi, who, however,
died young.
287
PicUer
A BIOGRAPHICAL DICTIONARY OF
Picou '
PIOHLER, JoHANN, gem-cutter, painter and en-
graver, was born at Naples in 1734. He was a
pupil of his father, Anton Piohler, and the painter
Corvi. In 1761 he painted several pictures for
the Franciscans and Augustinians, and made ex-
periments in encaustic and mosaic. In 1763_ he
joined his father in Rome, after which he visited
England, returning to Rome in 1775. _ Most of his
time was given to gem-cutting, in which he.rose to
such excellence, that many of his intaglios were
sold as antiques. It is said that even Winkclmann
was deceived by them. He died in Rome in 1791.
PIOHLER, JoHANN Peter, mezzotint engraver,
was born at Botzen in 1765, and studied at Vienna
under Professor Jakobe. He worked for the Prince
of Anhalt Dessau in Dresden, and died at Vienna
in 1806. Among his best plates are :
Portrait of the King of Poland ; after Lumpi.
The Fruit Girl ; after Murillo.
Venus ; after Titian.
Omphale ; after X^.omenichina.
Perseus and Andromeda.
Magdalene and St. John ; after Batoni.
Eembraudt's portrait of himself.
PICKAERT, PiBTEK, who was probably a
native of Holland, has left a set of coarse etchings,
published in Holland, and representing the flight
of James II. from England. They are probably
from his own designs, as he adds, the vioxA fecit to
his name. Neither the time of his birth or death
are recorded, but he must apparently have been
living in 1688.
PICKEN, Andrew, an English lithographer,
born in 1815. He was a pupil of Louis Haghe,
and had much employment in illustrating books of
travel. Through ill-health he made two sojourns
in Madeira, and published a fine work, 'Madeira
Illustrated.' In 1835 he exhibited at the Academy
a 'Tomb in Narbonne Cathedral.' He died in
London, amid much promise, in 1845.
PICKERING, Henry, an English portrait painter
in the early part of the 18th century. He was a
follower of Kneller, and painted portraits " in cha-
PICKERSGILL, Henrt Hall, an English sub-
ject and portrait painter, the eldest son of H. W.
Pickersgill, R.A. His studies were completed in
the Netherlands and Italy, and he first exhibited at
the Academy in 1834. About 1844 he spent two
years in Russia, which furnished him with subjects
for some pictures. On his return he practised as a
portrait painter in the midland counties. He died
in 1861. His picture ' The Right of Sanctuary ' is
in the South Kensington Museum. Other works :
The Troubadours.
Holy Water.
Charity.
Fishermen of Eabatsky, on the Neva.
Ferry on the Neva.
Cupid and Psiyche.
Finding of Moses.
llomeo and Juliet.
PICKERSGILL, Henry W^illiam, an English
portrait and subject painter, born in London in
1782. He was originally intended for a silk manu-
facturer. Preferring art, he became a pupil of George
Arnald, A.R.A., and in 1805 entered theschools of the
Academy. Here he first exhibited in the following
year, and was elected an Associate in 1822, and a
full member in 1826. His practice became very
large, and most of the eminent persons of the day
sat to him. Up to 1872, when he retired from
288
work, he exhibited no less than 363 pictures at the
Academy. These were chiefly portraits, with the
exception of a few landscapes and fancy subjects.
He died at Barnes April 21, 1875. Amongst his
works are :
Bowood. Lady playing Guitar.
Loudon. Nat. Gallery. Portrait of E. Vernon. 1848.
„ „ A Syrian Maid. 1837.
„ „ The Nun.
„ National Portrait Portraits of Wordsworth,
Gallery. Jeremy Bentham, Hannah
More, W. Godwin, ' Monk '
Lewis, G. Stephenson, and
Sir T. Talfourd.
Incorporated; 1 ^ord Chancellor Truro.
Law Society, j
„ Boyal Institution. Professor Faraday.
„ „ Dr. Brande.
Longleat. Portrait of second Marquis of
Bath.
Windsor Castle. Portrait of Loird Hill.
PICOLET, CoRNELis, a painter of portraits and
conversations, flourished at Rotterdam from about
1670 to 1690. His reputation rests rather on the
circumstance of his having been the first instructor
of Adrian van der Werf than on any particular
work that can be with certainty ascribed to himself.
PICOT, PBANgoiS Edouabd, a French historical
painter, bom in Paris in 1786. He studied under
Vincent, and in 1811 obtained the second ' Prix de
Rome' for his 'Lycurgus,' In 1813 he obtained
the same award by his ' Death of Jacob.' As he
could not be sent to Rome, he was awarded a prize
of 3000 francs. Many commissions for decorative
works were entrusted to him : the chief of these
were for the Louvre, for Versailles, and for the
churches of St. Vincent de Paul (in conjunction with
Plandrin) and St. Clotilde. He was elected to
the Institute in 1856. He died in Paris in 1868.
Amongst his works are :
Amiens. Museum. Cephalus and Procris. 1824.
Brussels. Museum. .Sneas and Venus. 1815.
Grenoble. Museum. The Plague at Florence. 1839.
Paris. Louvre. Orestes and Electra. 1822.
„ Comedie Franqaise. Portrait of Talma.
„ N. D. de Lorette. Coronation of the Virgin.
„ S. Sulpiee. Death of Sapphira. 1819.
Versailles. Siege of Calais. 1838.
PICOT, VjOTOR Marie, a French engraver, was
horn at Abbeville in 1744, and studied in Paris.
He came to London in the year 1766 with Wynne
Ryland, and about 1770 he was living with Ravenet,
whose only daughter, Angelica, he married. In
1766 he was elected a member of the Incorporated
Society of Artists. He engraved several plates after
Serres, Barralet, Loutherbourg, and others, some of
which were for the collection of Boydell. He re-
turned to France in 1790, and died about 1805. We
have, among others, the following prints by him :
The Four Evangelists ; after Euiens.
Diana and her Nymphs ; after'the same.
The Nurse and Child ; after Schedone.
A young Man holding a Flute ; after B. Luti,
Apollo holding a Branch of Laurel ; after S. Cantarim.
A Landscape and Figures ; after Zuccarelli.
Two Sea-pieces ; after X>. Seites.
Two Landscapes, Morning and Evening ; after Barralet
Several other subjects ; after the same.
PICOU, Robert, (or Piquot,) a French engraver,
was, according to Marolles, a native of Tours, and
flourished about the year 1630. He enjoyed the
title of Peintre du Boi : he visited Italy, and re-
mained some time at Rome. Dumesnil describes
seven rare prints by him, of which the last,
executed from a picture by Jacopo Bassano, is the
PicquS
PAINTERS AND ENGRAVERS.
Fiepenliageii
best ; tlie others are evidently from his own de-
signs. They are executed partly with the point,
partly with the burin. We have also several frontis-
pieces and other book ornaments by him, from his
own designs. The following are the titles of the
seven plates above alluded to :
Love asleep; B. Picou.fe.
Two Cupids caressing ; R. Picou. fe. EonuB.
Two Infants ; U. Picou.fe. Roma.
Three Infants ; R. Picou.fe.
The little Wrestlers ; R. Picou. fecit.
Two couples of Infants ; R. P. ^c.
Jesus Christ delivered to His Enemies. On the margin
to the left inscribed Jacobus de poto Hassan pinxit, R.
Picou sculpsit ; and on the right, dartres formis Cum
Priuilegio. In a second impression, dartres fomiis
is erased, and Mariette Excudit substituted.
PICQU^, Chaeles, a Flemish painter, born at
Deynze in 1799. He painted portraits, still-life,
and historical pictures. He died at Brussels in 1869.
PICQUET,J. In Dubrayet's drawing-book there
is a print by this artist, representing ' Juno, Pallas,
and Venus,' half-length figures, executed with the
graver. It is inscribed Joan Picquetft.
PICQUET, Thomas, a French painter of the 17th
century, quoted by MaroUes.
PICQUOT, Henei, supposed to be the brother
of Thomas Picquot, was a scholar of Simon Vouet,
at Paris, and flourished about 1640, as appears by
that date on one of his prints. Dumesnil describes
three prints by him ; the first two after Ohapron,
etched with the point in a style analogous to that
of Michel Dorigny, the other from his own design,
also with the point, in a very light and spirited
manner.
The young Virgin ascending the steps of the Temple ;
a composition of many figures, with a glory of angels
and cherubim above ; Chapprov. jnuen. et ■piru>it ; H.
Picquot Jncidit Cum Priuilegio Regis. 1S40. In a
second ii^pression, Coi/pelj ex. avec privilege^ was sub-
stituted.
The Virgin giving the breast to the Infant Jesus;
Joseph, Elisabeth, and the infant St. John are intro-
duced. Although this print bears the name of Gueri-
nean, and not of H. Picquot, Dumesnil is of opinion
that it is by the latter,
A sick Frog a,ttended by others ; one acts as a physician,
two seem to pray, another is bringing a potion, and
four frogs are dancing to the sound of a violin. In
the margin are six lines of French verse, moralizing on
the brutalizing propensities of man. S. Picquot jnven.
et fecit. F. L. D. dartres excudit avec Privilege du
Roy.
PICQUOT, Thomas, an engraver of goldsmiths'
work, designs for embroidery, damascening, and
other ornaments, flourished, according to Zani,
from 1623 to 1645. Dumesnil conjectures that he
was a scholar of Marin le Bourgeois, painter and
valet de chambre to Henry IV. and Louis XIII.,
and describes fourteen prints by him, the first of
which is a portrait of the aforesaid Marin le Bour-
geois ; the others consist of arabesque designs for
goldsmiths' and armourers' work, book and other
decorations. The portrait is etched in the manner
of a painter, and is the best piece ; the ornaments
are etched with an extremely delicate point, and
appear in white on a dark ground.
PIDDING, Heney J. , an Enghsh subject painter,
born in 1797. He was the son of a Cornish lottery-
office keeper, and studied under Aglio. His works
appeared at the Academy from 1824 onwards, and
also at the Society of British Artists, of which latter
body he was elected a member in 1843. He fre-
quently chose humorous subjects, and some of his
pictures enjoyed considerable popularity. He died
VOL. II. u
at Greenwich in 1864. His best-known works
are :
The Gaming Room at Homburg. 1860.
The Fair Penitent.
Negro in the Stocks.
Greenwich Pensioners refighting the battle of the Nile.
( Woburn Abbey.)
The two last-named were engraved by himself.
PID6E0N, H. Clark, painter in water-colours,
was born in 1807. Origmally intended for the
Church, he at first directed his attention to litera-
ture, but subsequently adopted art as a profession.
He was for a time Professor of the School of Draw-
ing at the Liverpool Institute ; and was at the time
of his death one of the oldest members of the
Institute of Painters in Water-Colours. He was
elected an Associate in 1846, and a full member in
1861. He was also President of the Sketching
Club. Pidgeon was a constant exhibitor at the
Institute, and was also successful as a draughtsman
on wood. He died in 1880.
PIEMANS, an obscure Dutch artist of the 17th
century. He painted somewhat in the manner of
Velvet Breughel, and formed one pupil, his nephew,
Jan de Baan,
PIEMONT, Nicolaas, called Opqang, was born
at Amsterda^i in 1659. He at first passed some
tinje under Marten Zaagmolen, an obscure artist,
but he afterwards became a scholar of Nicolaas
Molenaer. He visited Italy, where he passed seven-
teen years, and improved his talents for landscape
painting, by designing from nature in that country.
From Rome he returned to Holland, where he
painted pictures from his Italian sketches and
gained a great reputation. His landscapes bear a
strong resemblance to the works of Jan Both. He
died at Vollenhove in 1709. The sobriquet ' Opgang '
(up-going) was bestowed upon him in consequence
of his marriage with the landlady of the Guild.
PIENE, A. DE, a French engraver, produced,
among other plates, a portrait of the ' Duchess of
Savoy,' after Sacohetti, for a book published in 1672.
PIENEMAN, Jan Willem, a Dutch historical,
portrait, and landscape painter, born at Abcoude
in 1779. He was a pupil of the Amsterdam
Academy, and subsequently taught drawing in the
military school at Delft. The appointments of
Director of the Hague Museum and of the Amster-
dam Academy were afterwards conferred upon
him. He died at Amsterdam in 1853. The follow-
ing pictures by him are in the Rijks Museum,
Amsterdam :
An Arcadian Landscape.
Portrait of Joanna Cornelia Ziesenis.
„ „ „ „ asAgrippina.
„ Andries Snoek.
„ Albertus Bernardus Edothaan and Louis
Eoger.
Battle of Waterloo. (Signed J. W. Pieneman, a.d. 1824.)
PIENEMAN, Nicolas, a Dutch historical painter,
the son and pupil of J. W. Pieneman, was born at
Amersfoort in 1809. He died at Amsterdam in 1860.
Amongst his chief works are :
The Death of Admiral De Euyter.
William I. of Orange wounded by Jaurequi.
The Condemnation of Barneveldt.
Portrait of J. W. Pieneman. (Saarlem Pavilion.)
J. S. de Eyk in presence of Eequessens.
The Death of Archimedes.
Portrait of William III. .
Portrait of C. J. Fodor. (Fodor Museum, Amsterdam.)
PIEPBNHAGEN, August, landscape painter,
was born at Soldin, in Prussia, in 1792. He was
289
Piera
A BIOGRAPHICAL DICTIONARY OF
Pierre
originally a button-maker, but raised himself, by-
no other assistance than the diligent study of
nature, to a distinguished rank in art. He died at
Prague in 1868. Three of his best pictures are :
Winter Landscape.
Landscape in a Storm.
Sketch of Forest Scenery.
PIERA, P., a Dutch painter, and a native of
Amsterdam. He painted landscapes and portraits,
and had two sons who followed in their father's
steps. He died in 1784.
PIERCE, Edward, was an English artist, who
flourished in the reigns of Charles L and II. He
was eminent as a painter both of history and of
landscapes, and also excelled in architectural and
perspective views. For some time he was an
assistant to Van Dyok, and after the Restoration
he was employed to repair the altar-pieces and
ceilings in London churches, damaged by the
Puritans. He died soon afterwards, and was
buried at Stamford. Few of Pierce's works now
remain, the far greater part being destroyed in the
fire of London in 1666. Lord Orford attributes to
him a set of friezes, in eight plates, etched in 1640.
His son John is said to have attained some eminence.
Another son, Edward, became a successful sculptor.
PIERI, Antonio di, called Lo Toppo, was a
native of Vicenza. He worked about 1738, and
painted landscapes and frescoes.
PIERI, Stefano, was a native of Florence, and
a disciple of Battista Naldini. Zani places his
birth in 1513, and his death in 1600. According
to Baglione, he visited Rome in the pontificate of
Clement VIII., and was taken under the protection
of Cardinal Alessandrode' Medici, by whom he was
employed in the church of San Prassede, where he
painted some pictures of the Apostles, and an 'An-
nunciation.' In Santa Maria in Via Lata is a picture
by him of the 'Assumption of the Virgin.' He
assisted Giorgio Vasari in the Cupola of Santa
Maria del Fiore, at Florence, and painted for the
Palazzo Pitti the 'Sacrifice of Isaac,' one of his
best works.
PIERINO DEL Vaqa. See Buonaccoesi.
PIERINO DB Nova. See Nova.
PIERO, Giovanni di. See Giovanni.
PIERO DI LORENZO, the son of Lorenzo di
Piero, was born at Florence in 1462. He became
an assistant to Cosimo Roselli, and accompanied
the latter when he was summoned to Rome by
Sixtus IV. Hence the name Pieko di Cosimo,
by which he is known. In 1485 he returned to
Florence, and was employed with Fra Bartolommeo
in the Convent of Sant Ambrogio. The connection
with Roselli, however, seems to have lasted till the
death of the latter, which took place in 1506, and
so Piero may be considered to have taken a share
in several altar-pieces in S. Spirito at Florence,
and other works of Roselli.' Piero did not confine
himself to sacred subjects, but took pleasure in
classic fable, especially when he was able to dis-
play animal life in natural or fantastic shapes.
This may be seen in 'The Wedding of Perseus
disturbed,' 'Sacrifice to Jove for the Safety of
Andromeda,' and two 'Rescues of Andromeda,' in
the Uffizi, and in a splendid ' Death of Procris '
in the National Gallery. A picture by hira of
' Venus playing with Cupid and a sleeping Mars '
is in the Berlin Museum. He was the inventor of
the strange masque called ' The Triumph of Death,'
which became the fashion in the Carnival at
Florence. Besides the picture already named,
which is, perhaps, Piero's master-piece, the
National Gafiery possesses, according to the best
connoisseurs, a second example of him, in a
picture now ascribed to Lorenzo Costa, and called
the portrait of Francesco Ferrucci. This is a
work of much power, and besides its undoubted
affinity with the acknowledged productions of
Piero, it ofiers a curious confinnation of his
asserted authorship, in the introduction of the
Palazzo Vecchio, with Michelangelo's David at its
portal, into the background. For Piero di Cosimo
was a member of the committee appointed in 1504
by the Signory of Florence to choose a site for that
statue. Many of his pictures, most of them, per-
haps, pass under other names. The ' Vierge au
Pigeon,' in the Louvre, and two fine Holy Families,
both ' tondos,' at Dresden and in the Borghese
Gallery, Rome, are among the best of these. Piero
was a man of curious interests and habits, caring
much more for the strange traditions of the pagan
mythology than for the tales of his own Church.
He was the master of Andrea del Sarto. He died
at Florence in 1521.
PIERO DA PERUGIA, a miniaturist of the 16th
century, many of whose works are preserved in the
Duomo at Siena.
PIERO DI RIDOLFO, an obscure painter who
flourished in Tuscany at the close of the 16th
century.
PIERON, GuSTAVE, a Flemish landscape painter,
who studied at the Antwerp Academy, and resided
in that city. He died in 1864.
PIERONI, Adolfo, painter, engraver, and medal-
list, was born at Lucca in 1832. He studied under
Onestini and Casale, though he was best known as
a medallist. He died at Florence in 1875.
PIERRE, a native of Troyes, who designed and
painted the fine series of windows in the cathedral
dealing with the parable of the Prodigal Son.
PIERRE. A painter of this name is mentioned in
the Belgian archives as the author of a portrait,
painted in 1417 or 1418, of Margaret of Burgundy,
the eldest daughter of Philip the Bold and the wife
of William IV., Count of Hainault. In 1418 this
portrait was placed in the Chapel of St. Anthony in
Barbefosse, near Mons.
PIERRE, maitre, a painter of this name was at
work in 1486 in the Monastery of the CordeUers, at
Nancy, He was a native of Strasbourg.
PIERRE, Andes, a native of Blois, who, in 1472,
painted a large ' Nativity ' for the chapel of the
Chateau de Montilz.
PIERRE DE COMPlfeGNE a native of Com-
piegne, (?) who was at work on miniatures and illum-
inations for the Chapter of Troyes in the year 1387.
PIERRE DB COPIAC, a glass-painter, who
painted the windows in the Cathedral of Montpellier,
his native place.
PIERRE DEST. CATHERINE, a native of Lille,
who painted in the year 1365 an altar-piece for the
church of St. Maurice in that city.
PIERRE, DiEUDONNi, the son of Etiennb Pierre,
a fruit and flower painter, was born at Nancy in
1807. He was a pupil of Hersent, and painted
historical subjects. In the Museum of Nancy there
is a ' Christ in the Garden of Olives ' by him. He
died in 1838.
PIERRE, Jean Baptistb Marie, was born in
Paris in 1714 (or 1713). He was at first a pupil
of Natoire, but went to Italy when young, and
studied some years at Rome under De Troy. On
his return to Paris he distinguished himself as a
Pierson
PAINTERS AND ENGRAVERS.
Fietrolino
painter of history, and was employed for some of
the public buildings, particularly on a large ceiling
in the chapel of the Virgin at St. Roch. He painted
an excellent picture of ' St. Nicholas and St. Francis,'
for the church of St. Sulpice, which has been en-
graved by Nicolas Dupuis. He was made director
of the Academy in Paris, and was appointed prin-
cipal painter to the Duke of Orleans and to the
king. He died in Paris in 1789. Among his best
paintings are, ' Peter curing the Lame Man,' and
' The Death of Herod ' (in St. Germain des Pr^s).
Pierre left several etchings, among which we may
name the following ;
The Village Entertaioraent ; after his own design.
Several Studies of Heads ; made by him in Italy.
Some PUtes of subjects from ' Fontaine's Fables ' ; after
designs by iSvMeyras.
PIERSON, Cheistoph, was born at the Hague
in 1631, and was destined by his parents for mer-
cantile pursuits, but became a scholar of Bar-
tholomaus Meyburg, whom after some time he
accompanied to Germany, but after an absence of
three years returned to Holland, and established
himself at Gouda, where he met with immediate
employment as a painter of history and portraits.
Notwithstanding the reputation he had acquired,
the encouragement given to the pictures of Lee-
rnens, a painter of dead game, guns, &c., induced
him to adopt similar subjects, in which he sur-
passed his model. He died at Gorcum in 1714.
PIET, — , was a native of the Low Countries,
and flourished about the year 1600. He engraved
the plates for a work entitled ' Le Maniement
d'Armes de Nassau,' &o., by Adam V. Brien, pub-
lished in 1608.
PIETERS, Geertje, or Gektrude, was a fruit
and flower painter, and was working at Delft at
the beginning of the l&th century. She was a
pupil of Maria van Oosterwyck, and was of good
repute in her day, though most of her productions
have been attributed toDe Heem^ The Suermondt
Collection had a ' Plateof Fruit ' byher, dated 16«0.
PIETERS, Gi^BARD, a Flemish historical painter,
who was a native of Bruges. He was received as
master painter in 1562, but in 1690 be left Bruges
and settled at Ghent, where he was often employed
by the town authorities.. He died in 16-12. His
son Pierre worked with his father.
PIETERS, Jan, or John, was born at Antwerp
in 1667, and was a scholar of Pieter Eyckens. He
came to England in 1686, when he was eighteen
years of age, and finding no employment for a
painter of history, he offered his servicea to Sir
Godfrey Kneller, who employed him. to paint the
draperies and backgrounds of his portraits. He
excelled in copying the works of Rubens. He died
in London in 1727, and was buried in the church-
yard of St. Martin 's-in-the-Fields.
PIETERS, PiEEKB, the son of Gerard Pieters,
accompanied his father to Ghent in 1590, and was
admitted to the freedom of that city. In 1609 he
was at work for the magistracy of Ghent,, but must
have been already dead in 1612, for in that year his
wife is spoken of as a widow, in a document still
preserved.
PIETERS, Simon, a Flemish historical painter,
received as master painter at Bruges in 1521. He
was Dean of St. Luke's Guild in 1649. In 1553 he
restored the 'Last Judgment' of Walens, and painted
several pictures for the city. He died in 1566.
PIETERSZ, RoELOP, an obscure painter who
worked at Utrecht about 1517.
u2
PIETERZEN, Abraham, a Dutch painter who
flourished at Middelburg early in the present
century. He was a pupil of Van Regemorter, at
Antwerp.
PIETERSZEN, Aeet, the son of Pieter Aertszen
(known as Lange Peer), was born at Amsterdam
in 1650. He deserves great praise for his picture
of the 'Lesson of Anatomy,' which hangs in the
same room as the world-famous picture of the same
subject by Rembrandt, in the Surgeons' Guild-Hall
at the Hague. It represents the professor Sebastiaen
Egberts lecturing over a dead body to twenty-eight
eager listeners, much in the same way as Rembrandt
has depicted Tulp. It is now in the Rijks Museum,
Amsterdam. Pieterszen's picture is vigorously exe-
cuted in a brown tone, and exhibits, more especially
in the countenances, much vivacity, facility of
drawing, and general truth to nature. It bears the
painter's monogram of A. F. and the date 1603,
which is twenty-nine years earlier than Rembrandt's
work. Besides this, the Rijks Museum possesses
two more excellent examples of Pieterszen, both
groups of portraits. Pieterszen died at Amster-
dam, and was buried there on the 12th June, 1612.
PIETERSZEN, Gbekit, (Pieters, or Peetees,)
was a painter and etcher, who flourished at Amster-
dam at the end of the 16tli century and beginning
of the 17th. He was first instructed by Jacob
Lenartszen and Cornelis van Haarlem, and after-
wards went to Antweip and Rome. After a
residence of some years in the latter city he re-
turned to Amsterdam, where he distinguished him-
self as one of the ablest artists of his time.
Unfortunately he devoted himself principally to
portraiture, and the rapid production of small
pictures, but his talents fitted him for higher
efforts. He was particularly successful with the
nude, and is also celebrated as a painter of
gallant assemblies and conversations, which he
composed in a very agreeable style, and finished
with great neatness and delicacy. Accordhig to
Balkema he died in 1626. There is a beautiful
landscape drawing by him in the cabinet at
Munich. He etched several plates, among them :
St. Cecilia, with Angels.
St. John in the Wilderness.
The three Theological Virtues.
PIETERSZOON, Pieter, a glass-painter of
Haarlem, who was received into the Guild of St.
Luke in 1619, and formed a large class of scholars.
PIETRASANTA, Anbelo, a painter, was born
at Milan in 1837. He was a pupil of Hayez, and
worked from 1869 to 1861 in Rome and Florence,
where he won a considerable reputation as a fresco
painter. He painted ' The Eucellai Gardens,' the
' Borgia Family,' and figures of ' Europe ' and
' Science ' in the Galleria Vittorio Emmanuele, at
Milan. His last work was the decoration of the Sanc-
tuary of the Incoronata, at Lodi. He died in 1876.
PIETRO BORGHESE. See Dei Feanoeschi.
PIETRO DI PIETEI, an Italian painter, born at
Novara in 1671, He was a pupil of Carlo Maratti,
and painted historical subjects. He died in 1716.
PIETRO, Giovanni di. See Giovanni.
PIETRO DI BENEDETTO. See Dei Feanoeschi.
PIETROLINO, an Italian painter of the 12th
century, who was at work at Rome, with Guido
Guiduccio, between 1110 and 1120. In a MS.
preserved at Venice it is stated that Pietrolino's
home was at Siena. Some remains of his work are
said to be visible in the Church of the Santi Quattri
Coronati, in Rome,
291
Pietrowski
A BIOGRAPHICAL DICTIONARY OF
Pilo
PIETROWSKI. See Pioteowrky.
PIGAL, EdmiS Jean, a French painter of still-
life, was born in Paris in 1794. He was a pupil
of Gros. Among his works is a ' Consultation of
Doctors.' He died in 1872.
PIGEON, Jean Baptists, a Flemish painter,
horn at Bure in 1823. He was a pupil of Marinus
Van der Haert and Mathieu, and painted portraits
and historical suhjects. His chief work is the ' In-
stitution of the Rosary,' in the Church of Anhee,
near Dinant. He died in 1868.
PIGNATELLI, Vicente, a Spanish amateur
landscape painter, born about 1700. He was a
noble. He showed a decided inclination for the
arts, and took a prominent part in founding an
Academy at Saragossa, of which he became the first
President. He died in 1770.
PIGNE, Nicolas, a French engraver, was born
at Chalons in 1690, and is said to have been a pupil
of Bernard Picart. He appears to have been in
England, as there is a portrait with his name, of
Eichard Fiddes, B.D., prefixed to ' Divinity,' by
the latter, and dated 1718. We have by this artist
a few plates in line, among which are the following :
The Virgin, with the Infant sleeping in a cradle, with
St. John standing by her side, attended by four
angels ; after F. Tremsani ; for the ' Crozat Collection.'
The Woman of Canaan kneeling at the feet of Christ ;
aft&r Ann. Carraeci,
PIGNONE, SiMONE, was born at Florence, accord-
ing to Oretti, in 1614. After being instructed in
the elements of art by Domenico Cresti, he became
a scholar of Francesco Furini. He afterwards lived
for a time in Venice, where he improved his
colour by studying the works of Titian and
Tintoretto. On his return to Florence he painted
several pictures for the churches, of which the
most admired are the pictures of ' St. Michael dis-
comfiting the Evil Spirit,' in the church of the
Nunziata ; and ' St. Louis distributing his Wealth
to the Poor,' in Santa Felicita. He also excelled
in painting mythological subjects, which, however,
he sometimes treated with too much licentiousness.
He died in 1698.
PIJNAGKER, Adam, sometimes erroneously
called AdbiAen, was born at Pijnacker, near Delft,
in 1621, and went when young to Rome, where for
three years he studied the works of the most dis-
tinguished landscape painters, and made designs of
the most picturesque objects in the environs of
that capital. On his return to Holland he soon
gave proof of how much he had profited by his
travels, and became one of the most admired and
best employed artists of his country. It was at
that time the practice to ornament the apartments
of important houses with the works of the most
eminent landscape painters ; and Pijnacker was
much engaged in works of that description.
His style has something in common with that of
Jan Both. It is, however, at once more decor-
ative and less true to nature. His composition is
excellent, but his colour too cold, and his texture
metallic. In the Gotha Gallery there is a ' Land-
scape with a Ruin ' by him, which is signed with
the initials A. V. F. P. He was a fine draughts-
man of trees. Almost all of liis pictures contain
men and animals. Pijnacker died at Amsterdam,
where he was buried on March 28, 1673. Among
his best works we may name :
Amsterdam. Museum. Four Landscapes.
Beriin. „ Landscape with Shepherds.
Cassel. Cows and Cowherds.
292
Dulwioh. Gallery. An Italian Landscape.
„ „ Landscape, with Sportsmen. {A
fint-<rate example.')
Hague. Museum. A Torrent. {Very fine.)
St. Petersburg. Her- Igea-coast.
mitage. }
Vienna. Academy. Mountainous Landscape.
PILAJA, Paolo, an Italian engraver, flourished
at Rome from 1727 to 1747. He executed a set of
plates for a book entitled ' Storia di Volsena,' by
the Abate Adami, published at Eome in 1737. We
have also, among others, the following prints by
him :
The Portrait of Pope Benedict XIII. ; after Brughi.
The Martyrdom of St. Fedele ; after S. Conca.
A Miracle wrought by St. Thoribio ; after the same,
S. Liberale, with two Children ; after the same.
Statue of the Prophet Elijah; after the sculpture h/
Ayost. Comachinif in St. Peter's at Kome.
PILEN, Hans, an unimportant Dutch landscape
painter, flourished toward the close of the 16th
century. He painted somewhat in tlie style of
Pieter Lastmann.
PILES, EoGEE DB, painter, etcher, and writer on
art, was born at Clamecy (Nievre) in 1635, and
died in Paris in 1709. He was a pupil of Claude
Franfois, and travelled in Italy and Holland. His
fame depends chiefly on his voluminous writings
on art.
PILGRIM, J. U. See WECHmiN.
PILKINGTON, Sir William, Bart., an English
amateur landscape painter, born in 1775. He suc-
ceeded to the title as eighth baronet in 1811. His
style was founded on that of the classic school,
and especially that of Richard Wilson. He was
also an amateur architect and a good scholar.
Butterton Hall, Staffordshire, was built from his
designs. He died at Chevet Hall, Wakefield, in
1850.
PILLANS, R., an English marine painter, who
practised in the second part of the 18th century.
PILLEMENT, Jean, was born at Lyons about
1728 (some say 1719), and after receiving his
education in that city, went to Paris and Vienna,
and after 1763 to London. He painted in oil or
pastel a few pictures of landscapes and fancy sub-
jects, which were composed and coloured in a
theatrical, gaudy style ; he treated similar subjects
in pencil drawings and water-colours, which were
finished with great neatness and labour. Between
1773 and 1780 he occasionally exhibited at the
Free Society of Artists, but in the former year he
dropped for a time the practice of his art on account
of ill health, and returned to Avignon. He became
painter to Marie Antoinette and to the last king of
Poland, but finally settled again at Lyons, where (?)
he died early in the present century (? 1808).
Several of his designs have been engraved by
Canot, Ravenet, WooUet, Mason, Elliot, and other
eminent engravers. He himself etched a few plates
of flowers, &o.
PILLEMENT, Victoe, designer and engraver,
was born at Vienna in 1767. He was a son and
pupil of Jean Pillement, and worked with the
graver and point combined. He died in Paris in
1814. Among his best plates may be mentioned :
The Banks of the Bosphorus ; after Melling.
Travels iu Egypt ; after Denon.
CEdipus Colonneus ; after Valenciennes.
PILO, Gael Gustav, a Swedish painter, was
born near Euntuna, in Siidermanland, in 1712 or
1718. He first studied under his father, Oluf PilO
(a portrait painter), then under Crisman at Stock-
Pilotto
PAINTERS AND ENaEAVERS.
Pinas
holm, and was at Vienna from 1734 to 1736. He
next travelled widely in Germany, and on returning
to his own country settled for a time at Schonen,
where he successfully practised portrait painting.
In 1741 he went to Copenhagen, and was
appointed drawing-master to the Cadet Corps,
and after painting the Crown Princess Louise, was
in 1745 made court-painter, and three years later
professor at the old Academy. In 1771 he became
director, but by accepting the Order of Vasa from
his own sovereign, Gustavus III., he fell into dis-
favour with the Danes, and returned to Sweden.
Here, too, he was chosen a director of the Academy.
He died at Stockholm in 1792. Among his best
pictures we may note :
Frederik V. of Denmark on Horseback.
Karoline Mathilda, his Consort.
Coronation of Gustavus III.
Portrait of Lieut.-General Lerche.
PILOTTO, GiROLAMO, was a native of Venice,
and flourished about the year 1590. He was a
scholar of the younger Palma, and, according to
Zanotti, a faithful follower of his style One of
his best performances is a ' St. Biagio,' over the
high altar of the Fraglia at Rovigo ; but his most
celebrated work is the ' Marriage of the Adriatic by
the Doge,' in the grand saloon in the ducal palace
at Venice. Zani places his death in 1649.
PILOTY, Gael Theodob von, a Bavarian painter,
was born at Munich in 1826. After studying under
his father he entered the Munich Academy, and be-
came the pupil of his brother-in-law. Car] Sohorn.
In early manhood he visited Paris, England, and
Brussels, and soon after his return to Bavaria, was
commissioned by the king to paint, for the Maxi-
milianeum, ' The Elector Max adhering to the
Catholic League in 1609.' This was completed in
1854. Piloty formed a large class of pupils, and for
the greater part of his life was both a member and
a professor of the Munich Academy. Lenbach,
Defregger, and Hans Makart were among his
scholars. He died in 1886. Works :
Death of 'Wallenstein.
Seni before "Wallenstein's corpse.
Battle of the White Mountain, Prague.
Galileo in Prison.
Wallenstein marching against Egger.
Discovery of America.
Henry VIII. and Anne Boleyn.
Nero among the ruins of Eome.
Thusnelda at the Triumph of Germanicus. (New Pina-
cothek, Munich.)
PILOTY, Ferdinand, lithographer, was born at
Homburg in 1785. He was instructed in painting,
but after the invention of lithography he devoted
himself exclusively to that,art. In 1836 he asso-
ciated himself with Joseph Lohle for the production
of a series of copies from the Munich Pinakothek
and the Schleissheim Gallery. After the death of
Gottlieb Bodmer the two artists continued the
publication of his works, and the lithographic
establishment of Piloty and Lohle is still one of
repute in Germany. Piloty died at Munich in
1844.
PILS, Isidore Alexandre Auguste, a French
historical painter, born in Paris in 1813. He studied
in the ilcole des Beaux Arts, and was a pupil of
Lethi^re and Picot. In 1838 he gained the Grand
Prix de Rome for his ' St. Peter healing the lame
man at the gate of the Temple.' For some years
his attention was chiefly devoted to Scriptural
subjects, and he spent much time in travel. The
Russian War gave a new turn to his art, and
he henceforth painted those military subjects on
which his reputation rests. He went to the
Crimea, and depicted several incidents of the cam-
paign for Napoleon III. Besides medals in 1846,
1855, 1857, and 1861, he received the Legion of
Honour in 1857, becoming an officer of the order
in 1867. He became Professor of Painting at the
:ilcole des Beaux Arts in 1863, and was elected a
member of the Institute in 1868. There are deco-
rative paintings by him at the churches of Ste.
Glotilde and St. Eustache in Paris ; but his greatest
work of this kind is the ceiling over the grand
staircase in the New Opera House. Pils died of
chest disease at Douarnenez (Brittany) in 1875.
Amongst his chief pictures are :
Christ preaching in Simon's Boat. 1846.
Death of the Magdalen. (1847.)
Bacchantes and Satyrs. (1848.)
Kouget de I'IsIe singing the Marseillaise. 1849.
Death of a Sister of Charity. 1850.
Athenian Slaves at Syracuse. (1852.)
Prayer at the Hospital. (1853.)
A Trench before Sebastopol. 1855. {Bordeaux Museum.)
Disembarkation of the French Army in the Crimea.
1858.
School of Musketry, Tincennes. (1859.)
Battle of the Alma. 1861. (Versailles GaUery.)
Fete to the Emperor and Empress in Algiers in 1860.
(1867.)
Apollo with the Chariot of the Sun.
Fame crowning Wisdom.
Apollo charming the Beasts with his Lyre.
The City of Paris encouraging the Arts. {This and the
three preceding for the Stairs of the Grand Opera.)
Portraits of Lecointe and Castelnau.
His brother, Edouakd AisnIi Pils, born 1823,
died 1852, was a pupil of the School of Arts, and
from 1846 onwards painted religious and military
subjects with some success.
PILSEN, Frans, was bom at Ghent in 1700,
and died in 1786. He studied painting and en-
graving under Robert van Auden-Aerd. _ We have
among others, the following prints by him :
The Virgin and Infant Jesus ; after Rubens.
The Conversion of St. Bavon ; after the same.
The Judgment of Midas ; after the same.
The Martyrdom of St. Blaize ; after G. de Crayer.
St. Francis ; after Eubens ; inscribed F. Pilsen, sculp.
G. 1770.
PINACCI, Giuseppe, an obscure Italian painter,
a native of Siena, flourished about 1642. He was
a pupil of Borgognone, and painted historical and
battle scenes. He resided at Naples, and after-
wards at Florence, at the Court of Prince Ferdinand.
PINAIGRIBR, Thomas, a French landscape
painter, born in Paris in 1616. He was received
into the Academy in 1648, and died in 1658.
PINAS, Jacob, was the younger brother of Jan
Pinas, and was instructed by his brother, whose
style he imitated.
PINAS, Jan, was an historical pamter of
Haarlem early in the 17th century. It is not
known under whom he learned the rudiments of
the art, but in 1605 he travelled, in company with
Pieter Lastman, to Italy, where he studied some
years. On his return to Holland he distmguished
himself as a painter of history and portraits. Of
his historical productions, one of the most esteemed
was a picture in the great church at Haarlem of
' Joseph and his Brethren.' He was living in that
city up to at least 1621, and in 1623 a landscape
by him, with the story of Salmacis and Herma-
phroditus, was engraved by Magdalen van de Pass.
Pinchard
A BIOGRAPHICAL DICTIONARY OF
1*1118011
_ PINCHARD, P., is said by Strutt to have re-
sided at Genoa, where he engraved several plates
for books, about the year 1687.
PINE, John, an engraver, and a man of letters,
was bom in 1690. He kept a printshop in St.
Martin's Lane, and became intimate with Hogarth,
who introduced his portrait as the friar in his
picture of ' Calais Gate,' from which circumstance
he went often by the name of ' Priar Pine.' He
brought out several handsome works illustrated
with plates of his own engraving. Tlie principal
of them were a series representing the ceremonies
used at the revival of the order of the Bath, by
King George I. (published in 1725) ; also his
prints from the tapestry in the House of Lords,
representing the ' Destruction of the Spanish Ar-
mada ' ; and a superb edition of ' Horace,' the text
engraved, and illustrated with ancient bas-reliefs
and gems. The 'Pastorals' and ' Georgics' of Virgil
were published by his son, after his death, orna-
mented in a similar manner, with a printed type.
Pine also engraved a few portraits, among which
are an etching of himself and a mezzotint bust
of Garrick, taken from a cast. He received the
appointment of Blue Mantle in the Heralds' Col-
lege, and there died May 4, 1766. Pine was one of
the committee of artists who attempted, in 1755, to
found a Royal Academy.
PINE, Egbert Edge, son of John Pine, was born
in London in 1742. It is not known by whom he
was instructed, but he gained the premium for the
best historic design, given by the Society of Arts,
with his ' Surrender of Calais' in 1760, and again
with 'Canute and his Courtiers' in 1763. He
afterwards practised as a portrait painter, and
occasionally exhibited at Spring Gardens and the
Royal Academy. In 1782 he exhibited a series of
pictures of scenes from Shakespeare. He after-
wards went to America, and portrayed Washing-
ton and other leaders of the revolution. He died
at Philadelphia in 1790. His principal works are
subjects from Shakespeare, and theatrical portraits,
which have been engraved by M'Ardell, V. Green,
C. Watson, Aliamet, Lomax, and Dickinson. His
' Surrender of Calais ' was preserved in the Town-
hall of Newbury, and mention may be made of
the following portraits :
George II. (at Aiidley End).
The Duke of Northumberiaud {Middlesex Hospital),
Garrick (National Portrait Gallery),
PINE, Simon, an English miniature painter in
the 18th century, the son of John Pine. He
practised in Ireland and at Bath, and exhibited at
Spring Gardens, and at the Academy. He died in
1772.
PINEDA, Francisco Perez de, a Spanish painter,
was born at Seville about the year 1640. He was
a scholar of Murillo, whose style he followed, and
there are several of his works in the churches and
convents at Seville. There was also an Antonio
Peeez db Pineda, who lived about 100 years
previously.
PINELLI, Antonia BERTUCCI. See Bektucci-
PlNElLI.
PINELLI, Bartolommeo, an Italian painter,
etcher, and modeller, was born at Rome in 1781.
He studied when young at the Academy of Saint
Luke, and then went to Bologna, where he ob-
tained honours, after which he returned to Rome.
He was very successful vrith his sketches from
popular life, and then took to painting views at
Rome and Tivoli in aquarelle. He also etched
294
(1810-22) a number of plates illustrating Italian
life and costumes, as well as Grecian and Roman
history and the works of classic authors. Be-
sides these original designs lie engraved after
other artists. His drawings in chalk and in
water-colours are much esteemed. The works by
which he is best known are, ' Istoria degli Imperi-
tori, inventata ed incisa in cento rami ' ; ' Rao-
colta di Costumi pittoreschi' ; ' Nuova Raccolta
di cinquanta Costumi pittoreschi'; 'Istorica Greca,'
with 100 etchings ; ' Istorica Romana,' 152 etch-
ings ; Illustrations to Virgil, Dante, Tasso, Aretino,
and Cervantes ; and some others, of which the
plates were brought to England, and printed here.
He also engraved the frescoes painted by Pintu-
ricchio in the cathedral of Santa Maria Maggiore ;
the illustrations of the ' Life and Miracles of St.
Francis di Paula,' after Marco da Faenza and
others ; the friezes by Giulio Romano in the Far-
nesina ; Picturesque Views of Tivoli, &c. ; and
lithographed illustrations to Manzoni. He died at
Rome in 1835.
PINGRET, Edotjard Henei Th^ophile, a French
painter, and native of St. Quentin, who ilourished
about 1785. He was a pupil of David and also of
Regnault. Works :
Louis XIV. and Moliere.
Siege of Oourtrai. ( Versailles.)
PINO, Marca da, (or Maeco da Siena,) a painter
and architect, is stated to have been born at Siena
about the year 1520. He was a pupil of Buonao-
corsi and Ricciarelli, but chiefly followed the style
of Michelangelo. He painted some pictures for
the churches at Rome, of which one of the most
esteemed was a ' Dead Christ, with the Virgin and
St. John,' in Santa Maria di Ara Cseli. Much of his
work in Rome was done in collaboration with
Daniele da Volterra. From Rome he proceeded to
Monte Cassino, where, in 1557-8, he painted for
the church of the Benedictines some large frescoes
from the Lives of Christ and of SS. Mauras and
Placidus, But the chief scene of his activity was
Naples, where he established himself in 1560.
During a residence of twenty-seven years, he
decorated the principal churches with several of
his finest works. Of these, the most famous and
perhaps the best is a ' Deposition from the Cross,'
in the church of San Giovanni de' Fiorentini,
painted in 1577. In the same church is a fine
picture of the ' Annunciation,' and in the cathedral
an ' Incredulity of St. Thomas ' (1573). A _' Christ
on the Cross,' an ' Assumption of the Virgin,' and
an ' Adoration of the Magi,' in the church of San
Severino, may also be named. Pino died in 1587.
His art has much that is clever and energetic about
it,,but it has also the aflFectation and insipidity of
the decadence.
PINO, Paolo, an unimportant Venetian painter,
who flourished about 1565. His style was founded
on the followers of Bellini. There is a portrait of
the physician Coignati by him, in the Df&zi, at
Florence.
PINO DA MESSINA. See Messina.
PINSON, Nicolas, was born at Valence, in the
Dr^me, about the year 1640. He studied at Rome,
where he remained a considerable time, and imi-
tated the manner of Pietro da Cortona. Scarcely
anything more of his history, or of his works, is
known, except that Coelemans has engraved his
picture of 'Tobit and the Angel,' which was in
the collection of Boyer d'Aguilles ; and that he
Pinssio
PAINTERS AND ENGRAVERS.
Firanesi
etched two priijts, a ' Dead Christ ' and the ' As-
sumption of the Virgin,' which are both of ex-
treme rarity. The first is marked N. P. In. /.,
and the second N. Pinson. Inuent. ef Sculp.
PINSSIO, Sebastiano, who was born in Paris in
1721, and flourished in 1765, is mentioned by
Strutt as the engraver of a few portraits.
PINTURICCHIO. See Biagio, Bernardino.
PIN US, Cornelius, a Roman painter of the reign
of Vespasian, was engaged with Accius Priecus in
the Temple of Virtue and Honour.
PINWELL, George John, an English draughts-
man and water-colour painter, born in London in
1842. He studied in Heatherley's Art School,
Newman Street. In the early part of his career he
practised much as a book-illustrator, and specimens
of his work are to be found in 'London Society,
' Good Words,' ' Once a Week,' ' Sunday Magazine,'
Dalziel's ' Vicar of Wakefield,' &c. His first appear-
ance in water-colours was at the Dudley Gallery in
1865, but his best pictures were exhibited at the-
Water-Colour Society, of which he was elected an
Associate in 1869, and a member in 1871. He died
of lung disease in 1875, in the midst of great
promise, and was buried at Highgate. Since his
death his work has increased enormously in popu-
larity. Together with Frederick Walker, who also
died young, and Mason he may be considered the
leader of one of the most interesting of the modern
developments in British painting. Pinwell was an
honorary member of the Belgian Society of Water-
Colour Painters. Amongst his best works are :
The Pied Piper of Hamelin. 1869.
The Great Lady.
A Seat in the Park. 1869.
At the Foot of the Quantocks.
The Elixir of Love. 1870.
The StrolUng Player. 1872.
Gilbert a Beckett's Troth. (1872.)
The Beggar's Boost, Tangier. (1874.)
We fell out, my Wife and I. (1875).
Many of Pinwell's best works have been etched by
B. W. Macbeth, A.R.A.
PINZ, JoHANN Geohg, (or PiNTZ,) was an engraver
of Augsburg, who died in 1767, at the age of 70.
He is said to have been chiefly employed by the book-
sellers, for whom he engraved several prints, in the
style of those which ornament the numerous pub-
lications of Van der Aa. He engraved, among
others, an emblematical print, entitled ' Gallus and.
Germanus,' in honour of the Bang of France, after
P. Decker.
PIO, Giov. DEL. See Bonatti.
PIOLA, DoMBNico, the younger brother of Pel-
legrino Piola, was born at Genoa in 1628. He
received his first education in art from his brother,
but after his death he became a scholar of Gio-
vanni Domenioo Capellini. In conjunction with
Valeric Castelli, he executed some works for the
public edifices in Genoa and the state. For some
time he followed the style of Castiglione, and after-
wards that of Pietro da Cortona. He was particu-
larly happy in the representation of children, which
he designed from the casts of Fiammingo. One of
his best productions is the 'Miracle of St. Peter
at the gate of the Temple,' at Carignano, which is
not degraded by its vicinity to an admirable picture
by Guercino. He died in 1703. He is known
to have produced the following etchings : two
' Nativities ' ; ' The Virgin on the throne with the
Infant Jesus on her knees, and St. John kneeling ' ;
• Paris holding the Apple ' ; and an ' Old Man with
a long beard.' Domenico Piola had three sons, An-
tonio, who abandoned painting in early life after
showing some promise, Giovanni Battista, who
never developed any original talent, and Pablo
Geronimo.
PIOLA, Domenico, the younger, was a grand-
son of Domenico Piola, the elder, and was born in
1748. He painted historical subjects with mediocre
talent, and was the last of the family. He died
in 1774.
PIOLA, Giovanni Gregorio, a successful minia-
ture painter, born at Genoa in 1683. He died at
Marseilles in 1625.
PIOLA, Pablo Geronimo, historical painter, son
of Domenico Piola, the elder, was born in 1666.
He was a pupil of his father, but imitated the style
of Carlo Maratti and the Carracci. He died in 1724.
PIOLA, Pellegro, or Pellbgeino, was bom at
Genoa in 1617. He is supposed to have been a
pupil of Capellino. Though the world was de-
prived of his talents at the premature age of
twenty-three, when he was assassinated, a ' Ma-
donna,' painted by liirn, which was in the
collection of the Marchese Biignole, was thought
by Franceschini to have been painted by Andrea
del Sarto ; and his picture of St. Elogio, in one of
the churches of Genoa, was" mistaken by Mengs for
a work of Lodovico Carracci. He died in 1640.
PIOLA, PiBTEO Fbanoesco, historical and portrait
painter, was born in 1565. He was a pupil of
Sofonisba Anguisciola, and a successful imitator of
Cambiaso. He died in 1600.
PIOMBO, Seb. del. See LuciANl.
PIORT, v., an obscure artist, mentioned by
Strutt as the engraver of a plate from Rubens, re-
presenting an old woman holding a pot on a fire
from which a boy is taking a lighted coal.
PIOTROWSKY, Maximilian Anton, (or Pie-
TEOWSKi,) was born at Bromberg in 1814, and
studied at the Berlin Academy under Hensel. He
afterwards became Professor in the Academy at
Konigsberg. He at first painted romantic subjects
from Polish history, and other historical pieces, one
of which was ' Marie Antoinette in the Temple.'
Later on he took to genre painting from Polish
popular life. He died at Konigsberg, the 29th
November, 1875.
PIPER, F. lb. See Lb Piper.
PIPPI, GiuLio (Romano). See Dei Giannuzzi.
PIQUOT. SeePicou.
PIKANESI, Fkancbsco, son and pupil of Giam-
battista Piranegi, was bom at Rome in 1766, and
was instructed in design and architecture by his
father. The Revolution drove him to Paris, where,
with his brother Pietro, he essayed in vain to
found an Academy, and to start a terra-cotta
manufactory. He died in 1810. We have by him
several plates of architectural views, and also of
antique statues ; among them, the following :
Jupiter enthroned ; from the statue in the Capitoline
Museum ; after a drawing hy PiroU.
The Venus of Medici ; after the same.
Oupid and Psyche ; from the Group in the Oapitol.
Papirius and his Mother ; from the group in the Villa
Ludovisi.
Portrait of his Father, with Title-page to his 'Worlcs ;
the latter after Cades.
The Illumination of the Ohapel of St. Paul in St. Peter'i.
(See also the list of plates by G. B. Pieanesi.)
PIRANESI, GiAMBATTiSTA, etcher and archi-
tect, was born at Venice in 1720, and having there
studied drawing and architecture, went to Rome,
where he at first devoted himself to theatrical
painting under Valerian, and in 1738 received
295
Piranesi
A BIOGRAPHICAL DICTIONARY OF
Fisano
instructions in engraving from Giuseppe Vasi, a
Sicilian. After twice attempting to start as an
architect at Venice, he returned both times to Rome,
and settled down to engraving. He died in that
city on Nov. 9, 1778, having in 1761 been admitted
a member of the Academy of San Luca. He also
held the Order of Christ, and was an honorary
member of the Society of Antiquaries, in London,
a distinction of which he seems to have been proud,
as he always carefully added that title to his name.
He was also a member of the Academy of the
Aroadi, by the name of ' Salcindio Tiseio,' as he
has given it in one of his frontispieces, according
to the fantastic custom of that Society of giving
new names to the persons admitted. All who
knew him agree that he was of a fiery and im-
petuous temper, but full of genius. As a practical
architect it is only stated that he was employed to
repair and ornament, at the particular desire of
Clement XIII., the church of Santa Maria del
Popolo, and the priory of Malta, at Rome ; in the
latter of which his son erected a statue to his
memory, which was executed by Angolini. His
portrait, engraved by Polanzani, in 1760, in the
style of a mutilated statue, is prefixed to some of
his works. Piranesi was made ' Cavaliere ' by
Clement XIIL
Piranesi was one of the best draughtsmen and
engravers of architecture and ancient ruins of his
time. His skill in combining objects from different
localities, and the force and vigour which he
gave to the most important, obtained for him the
sobriquet of ' The Rembrandt of Architecture.'
His works fill upwards of twenty folio volumes,
mostly published during his life, but a few sub-
sequently by his son, Francesco Piranesi, who had
an establishment at Rome for the express purpose.
The following list of his works is taken from Mr.
Henry Bohn's Catalogue. The differences which
occur in some of the titles, or frontispieces, to
copies of his Antichith Romane, arise from a
disagreement that occurred between Piranesi and
Lord Charlemont, who was to have been his patron.
Antichita Eomane, 4 vols. 1756.
Raccolta di Tempi Antichi, viz. di Vesta ; della Sibilla ;
dell' Oaore e della Virtu. 1776.
Panteon di Marco Agrippa, detto la Rotonda.
Monumenti degli Scipioni. 1785.
Eomanorum Magnifloentia et Architectura. 1761.
Opere Varie di Architettura Grotescha.
Trofei di Ottaviano Augusto.
Oarcere.
"Vedute di Archi Trionfali.
Eovine del Castello del Acqua Giulia. 1761.
Lapides Capitolini, sive Fasti Gonsulaxes, &c.
■Antichita di Cora. 1762.
Oampus Martius. 1762.
AntioMtS, d' Albano e di Oastel Gandolfo. 1764-5.
Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed
Ornamenti Antichi, 2 vols. 1778.
Colonna di Trajauo. 1770. Colouna Antonina. Colonna
deir Apoteosi di Antoniuo Pio.
Eovine di Pesto.
Vedute di Eoma, 2 vols.
Teatro S Broolano. 1783.
Diverse Maniere d' Adornare i Camini. 1769.
Statue Antichi. 1781-84.
Varije Tabulae celeberrimorum Piotorum: Eaooolta di
Disegni del Guercino.
Schola Italica Picturse, cura et impensis Gavini Hamil-
ton. 1773.
Stampe Diverse.
Peintures de la Villa Lante; Sala Borgia; Jules II.;
Farnesina ; Villa Altoviti.
Antiquitfo de la Grande Gr&ce, grav&s par Fr. Piranesi
d'apr^s les Dessins du feu J. B. Piranesi. (Paris,
1804.) 1807.
296
PIRANESI, Lauba, the daughter of Giambattista
Piranesi, was born at Rome in 1760. She carried
on business with her brother at Rome, and her
etchings bear a strong resemblance to those of her
father. She probably retired to Paris with her
brother. There is no account of her death. She
engraved some views of the remarkable buildings
in Rome ; among others, the following :
The Capitol.
The Ponte Salario.
The Temple of Peace.
The Arch of Septimus Severus.
PIRINGER, Benedikt, a designer and engraver,
was born at Vienna in 1780, and died in Paris,
where he had resided for some time, in 1826. He
studied at the Vienna Academy under F. A. Brand
and Herzinger, and was afterwards admitted to
membership. He worked in aquatint and with
the graver, and his productions are chiefly land-
scapes, romantic scenery, and views of cities after
old and modern masters, some of which were pub-
lished collectively. His pieces are rather numerous,
and include among the best :
The four Parts of the Day; four plates, after Claude
Lorrain,
The Waterfall ; after MoUtoT.
The Rocky Pyramid ; after the same.
Landscapes ; after Poussin aad LocatelU.
PIRINI, Louis db, a French engraver, by whom
we have a plate representing two Men playing at
Cards, and a Woman holding a Mirror behind one
of them, to discover his hand to the other ; after
Cornelis van Tienen.
PIRNBAUM, Alexis, was, according to Papillon,
who calls him Pibneaum, an engraver on wood, and
resided at Basle about the year 1545. Papillon
supposes him to have been a disciple of Hans
Holbein, but does not specify any of his works.
Nagler is of opinion that he is identical with Adam
Petri, a bookseller of Basle.
PIROLI, Tommaso, an Italian designer and en-
graver, was born at Rome in 1750, and received his
instruction in Florence. In 1806 he returned to
Rome, in which city, after passing some years in
Paris, he finally settled, and died in 1824. His
prints are numerous, etched in outline and in the
chalk manner. The following are considered as
.the most interesting: 'The Deposition from tlie
Cross,' after Caravaggio ; Bronzes, &c., from Her-
oulaneura ; a set of Bas-reliefs after Canova ;
the Prophets and Sibyls of Michelangelo in the
Cappella Sistina ; a copy of Metz's prints of the
' Last Judgment,' in the same chapel ; the story of
Cupid and Psyche, from the frescoes of Raphael
in the Farnesina; Massacio's frescoes in the Bran-
cacci chapel at Florence ; and the outlines for
original editions of Flaxman's illustrations to
Homer, Hesiod, JSschylus, and Dante, engraved
under Flaxman's own supervision, and published
at Rome. There are also several sets of engravings,
from remains of ancient art, by Piroli, part of which
were published at Rome and part at Paris by Fran-
cesco and Pietro Piranesi, the sons of the celebrated
Giambattista.
PIROTTE, Olivibb, a Flemish historical painter,
born at Li^ge in 1699. He was a pupil of B. Luti
at Rome, and afterwards of Coypel at Paris. He
painted several pictures for the churches in Liege.
He died in 1742.
PISANO, GiUNTA, (or Giunta da Pisa,) lived in
the first half of the 13th century, and was bom.
Pisano
PAINTEKS AND ENGRAVERS.
Pitau
if the old chronicles are to be believed, in 1202.
Among the existing works attributed to him, are a
' Crucifixion ' in San Ranieri at Pisa ; a picture of
Saints in the chapel of the Campo Santo ; a ' De-
struction of Simon Magus,' and a 'Martyrdom of
St. Peter,' both in San Francesco at Assisi, where
there was formerly a picture of the Crucifixion,
with Father Elias, the first General of the Fran-
ciscans, embracing the Cross. This was inscribed
with Giunta's name and the date, 1236, but is now
lost. Giunta died in or about 1258. Though still
constrained in design, he made some advance be-
yondthe conventionality of the Byzantine painters
who immediately preceded him.
PISANO, ViTTOKE, usually called Pisanello, a
painter, and the greatest of Italian medallists, was
born in North Italy late in the 14th century, but
neither the place nor the date of his birth are
known. Neither do we know who was his master,
but he was probably much influenced by Altichiero
and by Arangi, and later in life he may have re-
ceived hints from Doraenico Veneziano. Of all the
works with the brush that he carried out in Verona,
Venice, and elsewhere, scarcely anything now
remains. He painted a fresco in the hall of the
Great Council, at Venice, but his picture was over-
laid by one from the brush of Luigi Vivarini. In
connection with his medals (of which twenty-eight
have been preserved), he probably painted portraits,
and one of Leonello d'Este, in the collection of
the late Mr. Barker, was ascribed to him, but
without certain grounds. About 1436 Vittore was
in Home, where he painted on the frescoes left
unfinished by Gentile da Fabriano in San Giovanni
Laterano. Thence he most likely accompanied
Pope Eugenius IV. to Ferrara, where, in 1438, John
Palaeologus sat to him for his medal. In 1439 he
was working at medals for the court of Mantua.
He was at Ferrara between 1441 and 1444, at
Eimini in 1445, at Milan before 1447, at Mantua
again in 1447, and at Naples in 1448-9. Of his
works in colour the most important relic that can
now be identified is a little panel in the National
Gallery, with a vision of the Virgin and Child
hovering over the figures of St Anthony and St.
George. This picture was carefully restored by
Professor Molteni after it came into the possession
of Sir Charles Eastlake ; it was presented to the
National Gallery by Lady Eastlake. It is inscribed
Pisanus Pi. The Berlin catalogue ascribes an
'Adoration of the Magi,' formerly in the Barker
collection, to Pisano, on the strength of its resem-
blance to his drawings, good examples of which
are to be seen in the British Museum, and in the
Louvre. Vittore died, probably at Rome, in March
1456. For the sake of convenience we subjoin a
list of his medals : V.A.
1. Nicolas Piccinino.
2 — 10. Nine medals of liConello d'Este, each with a
different obverse. 1444.
11, 12. Sigismund Malatesta. 1435.
13. Pietro Candido Decembrio.
14. Vittorlno da Feltre.
15. Filippo Maria Visconti. Died 1447.
16. John Palseologus. 1438.
17—21. Alfonso of Aragon. 1448.
22. Francesco Sforza, Lord of Cremona.
23. Glan-Francesco Cronzaga, and
24. Cecilia, bis daugbter.
25. Lodovica Gonzaga III.
26. Novello Malatesta, Lord of Cesena.
27. 28. Inigo d'Avalos.
Fietro Poreelloi (Tre Carmi. u. s. 20) alludei to a medal
of himself hy Pisanello.
PISBOLICA, Jacopo, a Venetian painter, men-
tioned by Vasari in his Life of Sansovino as the
author of a good picture of ' Christ with Angels,'
in Santa Maria Maggiore, Venice.
PISTOIA, Gerino da, is described by Vasari as
the friend of Pinturicchio, a diligent colourist, and
a follower of Perugino. For his birth or death no
dates can be given. In 1505 he painted some de-
signs in the cathedral of his native city ; and in
the church of San Pietro Maggiore an altar-piece
of his still remains. In the refectory of the
convent of Santa Lucchese, near Poggibonsi, now
turned into a canteen, there are two scenes from
the life of Christ by him.
PISTOJA, Leonaedo da. See Geazia.
PISTOJA, Paolo da (or Pistojesb). See Del
SiGNOKACCIO.
PISTORIUS, Eduaed Kael GnsTAv Lbbbecht,
a genre painter, was born at Berlin in 1796. He
was originally a pupil of the portrait painter
Willich, and copied many pictures in the Gallery
of Sans-Souci. In 1818-19 he lived in Dresden,
where he chiefly busied himself with genre-paint-
ing. In 1827 he visited the Netherlands, and
stayed in Diiaseldorf on his way back. He returned
in 1830 to Berlin, and was elected member of the
Academy in 1833. He died at Kissingen in 1862.
The National Gallery at Berlin possesses the
following pictures by him :
An Old Man and an Old Woman ; a pair (marked in
cipher, B. P.). 1824.
The Geograpby Class.
The Toilet. 1827.
The Village Fiddler. 1831.
The Artist's Studio. 1828.
A Sound Sleep. 1839.
PITAU, NicoLAAS, the elder, an engraver, was
born at Antwerp about 1633, and first studied under
his father Johann Pitau, but in 1660 went to Paris
and became a pupil of Francois de Poilly, or at
least partially adopted his style. Pitau died in
Paris in or about 1676. He engraved a variety
of historical subjects after different masters, and a
considerable number of portraits. The following
are considered to be his best plates :
POETEAITS.
Louis Henri, Due de Bourbon, supported by Wisdom
and Beligion.
Pope Alexander VII. ; after Mignard.
Louis XIV., King of France ; after Le Feme. 1670.
Louis, Dauphin, his son ; after the same.
Peter Seguier, Chancellor of France. 1668.
idexandre Paul Pitau, Advocate in Parliament.
Gaspar de Fieubert, Chancellor. 1662.
Nicolas Colbert ; after Le Fevre.
SUBJECTS AFTBE VAEIOUS MASTERS.
The Holy Family, with St. Elisabeth and St. John ; after
Raphael.
The Entombment of Christ ; after L. Carracci.
The Virgin holding the Infant Jesus in her arms and
reading ; after Guercino.
The Dead Christ, with Angels weeping over him ; after
the same.
The Virgin interceding for St. Brmio and his order ;
afier Champaifine.
Christ and the Woman of Samaria ; after the same.
The Penitent Magdalen ; after the same.
St. Sulpice in Council ; after the same.
The Holy Family, with the Infant Jesus embracing St.
John ; after the same.
The Holy Family, with an Angel presenting a Basket of
. Flowers ; after Villequin.
St. Francis de Sales.
297
Fitau
A BIOGRAPHICAL DICTIONAEY OF
Place
PITAU, NiooLAAS, the younger, son of the last
named, worked from 1695 to 1745, and has left a
few engraved portraits, including :
Louis Alexandre de Bourbon, Count de Toulouse ; in-
scribed Gobert pinx. 1701. JV, Pitau Junior.
Oliver Cromwell.
PITI, a Spanish historical painter, bom at Sala-
manca. He was a pupil of Giordano, on whose
return to Italy Piti received a commission to work
in the cathedral of Valladolid. He also painted for
the chapel of the Marquis of Cerralvo at Salamanca.
PITLOO, Anton S., a Dutch landscape painter,
born at Arnheim in 1791. He was a pupil of H.
J. van Ameron. In 1816 he went to Italy, where
he painted several views, among which were a
view of Rome, and one of the Capitol from theOampo
Vaocino. He died in 1837.
PITOCCHI, Matteo da, a native of the Venetian
state, who painted bambocciati, and also some re-
ligious pictures for the churches of Padua. He
died about 1700.
PITONUS. See Pittoni.
PITRI. See Petbi.
PITTERI, GIOVANNI Maeco, designer and en-
graver, was born at Venice in 1703, and died there
in 1786. He was a pupil of J. Baroni and Antonio
Faldoni, but adopted an original style, with single
strokes which run from the top to the bottom, his
shadows being produced by strengthening these
as the occasion requires. The effect he produced
by this whimsical operation is neither unpleasing
nor unharmonious, and his prints possess consider-
able merit. Some of his works are marked M. P.
fecit. He engraved several plates for the collec-
tion of the Dresden Gallery, and others after various
masters ; among them the following :
POETKAITS.
A bust of himself ; after Piazeetta.
Giovanni Battista Fiazzetta, painter, of Venice ; after
the same.
Carlo Goldoni, the poet ; after the same.
Giuseppe Nogari, painter ; after the same.
Giovanni Mocenigo, noble Venetian ; after the same.
Count Sohulenburg, Field Marshal of Venice ; after
Uusca.
Cardinal Quirini.
Marquis Scipione Maffei.
Clara Isabella Foruari.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after Pietro Longhi.
The Seven Sacraments ; after the same.
The Crucifixion ; after Fiazzetta.
The Twelve Apostles ; after the same.
Beligion overthrowing Heresy ; after the same.
St. Peter delivered from Prison ; after Riliera.
The Martyrdom of St. Bartholomew ; after the same.
St. Catharine of Siena ; after Tiepolo.
Mary Magdalene, penitent ; after the same.
A set of six Plates of Hunts in the environs of Venice ;
after Pietro Longhi.
Twelfth-Night ; after Tenters.
Two Bustic Subjects ; after the same.
PITTONI, Battista, called Vicentino, an en-
graver, was born at Vicenza probably in 1620, and
was living in 1585. His engravings consist of
landscapes with ancient ruins, mythological sub-
jects, and arabesques. Some of them bear date from
1561 to 1585. A work formerly in the possession
of a late collector (Mr. Lloyd) was entitled ' Imagini
favolosi, &c., intagliatiin Rami da M. (Messer) Bat-
tista Pittoni.' Venice, 1585. In conjunction with
Battista Angolo del Moro he engraved a set of fifty
landscapes from Titian and others. These plates
298
are very boldly and freely executed. Vicentino
usually marked his prints Battista P. V. F., and
appended a Latin inscription descriptive of the
subjects.
PITTONI, Giovanni Battista, a painter, was
born at Vicenza in 1690, and received his first
instructions in the art from his uncle Francesco
Pittoni ; but his greatest improvement was de-
rived from study of the works of the best masters
of the Venetian school. His figures are generally
smaller than life ; and he was less successful when
he attempted to work on a larger scale. Two
of his finest pictures are the 'Martyrdom of St.
Thomas,' in the church of Sant' Eustacio, at Venice
and the ' Miracle of the Loaves,' in San Cosmo della
Giudecca. He died at Venice in 1767. The exist-
ence of two etchings by him is recorded — a ' Giov.
Nep. Canonico de Praga,' and a ' St. John '
PITTORI DA MACERATA, Lorenzo, an Italian
painter, flourished about 1533 at Macerata, where
he painted a ' Christ,' in the Church of the Virgin,
in the antico-modemo manner.
PITTORINI, Padre. See Bisi, Fra B.
PIXELL, (Miss) Maria, an English landscape
painter in oil and water-colours, born in the latter
part of the 18th century. She studied under Sawrey
Gilpin, and obtained a considerable, but transient
reputation. Her works appeared at the Academy
between 1796 and 1811.
PIZZARO, Antonio, a Spanish historical painter,
was a scholar of El Greco, and resided at Toledo
at the commencement of the ITth century. He
painted the ' Foundation of the order of Los Trini-
tarios' for their • convent ; several pictures in the •
churches of SS. Justo and Pastor ; and the ' Nativity
of the Virgin' in the church of Santa Maria, at
Casarrubios. He also designed the three subjects
engraved by Alardo Popma for the ' Life of St.
Ildefonso ' by Salazar de Mendoza, published in
1618. Neither the date of his birth, nor of his
death, is recorded.
PIZZOLI, GiovACCHiNO, a decorative and land-
scape painter, born at Bologna in 1651. He was
instructed by Borboni, Pasinelli, and Michelangelo
Colonna, whom he afterwards assisted. He died
in 1733.
PIZZOLO, Niccol6, was one of the most import-
ant of Squarcione's pupils, and aided him in the
decoration of the Eremitani Chapel, at Padua.
According to Vasari, the ' Eternal,' in the semi-dome
of the chapel, the ' Virgin in Glory, with Cherubim,'
and the figures of SS. Paul, Christopher, Peter,
and James, are all by him. In these works there is
much to remind us of Mantegna, who is said to
have been much influenced by Pizzolo. He also
assisted Fra Pilippo in the chapel of the Podesta,
Florence, and Donatello in the church of S. An-
tonio, Padua, in 1446 to 1448. He is said to have
perished early in life in a street brawl.
PLAAS. See Van der Plaas.
PLACE, Francis, was the younger son of Rowland
Place, of Dinsdale, in the county of Durham, but
was himself born in Yorkshire. His father, intending
him for the profession of the law, placed him as a
clerk to a solicitor in London, under whom he
continued until the year 1665, when he was obliged
to quit the metropolis on account of the plague,
and he took this opportunity of abandoning a pur-
suit which was never agreeable to his inclination,
and of indulging his propensity for drawing. He
painted, designed, etched, and engraved in mezzo-
tint, and also drew with the pen, shading the fore-
Place
PAINTERS AND ENGRAVERS.
Platte-Hontagne
grounds with Indian ink ; but as he practised art
for amusement only, his works are very scarce.
They prove him to have been a man of genius, and
it is to be regretted that his application was not
equal to his abilities. He is said to have refused a
pension of five hundred pounds a year, which was
offered him in the reign of Charles II., to draw the
royal navy, as he could not endure confinement or
dependence. He was intimate with Hollar, and
with Ralph Thoresby, the antiquary. He died at
York in 1728, and his widow disposed of his paint-
ings, among which were one of fowls, and others
of flowers and fish. Most of his engravings appear
to have been private plates, and this may account
for their scarcity. They were executed not later
than about 1683, and among them the following
are the chief :
POETEAITS.
Charles I. ; after Va'if Syck,
Catharine, Countess of Middleton ; after Ldy.
Major-General John Lambert.
Kichard Sterne, Archbishop of York.
Nathaniel, Baron Crew, Bishop of Durham ; afte^-
Kiieller.
Eev. "William Cray, of Newcastle. 1683.
Eichard Tompson, printseUer ; after Zoust.
Philip ■Woolrioh, Esq., in armour ; after 6reenhill.
John Moyser, Esq., of Beverley ; after Kneller.
Henry Cryles, glass-painter.
Sir Ralph Cole, Bart., amateur painter ; after Lely.
William Lodge, engraver.
Pearoe Tempest, printseller ; after Seemskerk.
James Naylor, the Quaker.
VAEIOUS SUBJECTS.
Seven etchings, being part of a set of twelve of Birds ;
after JBarlow; the other five were by Jan Griff,er ;
very fine.
Lady confessing to a Monk.
A Dutch Family.
A Monk Reading ; after Van Dyck.
A View of Tynemouth Castle and Lighthouse.
View of York Minster.
A Prospect of Leeds.
PLACE, George, an Irish miniature painter, bom
in Dublin in the latter half of the 18th century.
He studied in the Schools of the Irish Academy,
and practised in London, exhibiting at the Royal
Academy from 1791 to 1797. He afterwards prac-
tised in Yorkshire. The date of his death has eluded
PLANER, Chkistian Julius Gustav, a German
engraver, was born at Leipsic in 1818. He at-
tended the Academy of his birthplace, and at first
designed himself for a lithographer, but in 1840
he visited Italy, and afterwards studied engraving
at Dresden under Steinla. There, in 1873, not
being able to find a publisher for his drawing of
Leonardo's ' Last Supper,' he put an end to his
life by shooting himself. His principal plates
are:
The Saviour ; after Cima da Conegliano.
Christ blessing the Bread ; after Carlo Dolci.
The Virgin Mary ; after iSteinirUck.
The Repentant Magdalene ; after Correggio.
The Sons of Rubens ; after Rubens.
St. Mary of Egypt ; after Mihera.
The Dead Christ mourned over by his Disciples ; after
Bothermund.
Rembrandt and his wife ; after Eemirandt.
The Reading Hermit ; after De Koninck.
Portrait of Count Hoym ; after Rigaud.
Julius Schnorr von Karolsfeld, painter.
Moritz Steinla, engraver.
Napoleon III., Emperor of the French.
Love riding on a Panther ; after a has-rehef by Rietschel.
PLANES, Luis, • the elder,' was born in Valencia
about 1732. He was Director of the Royal Academy
of S. Carlos, and died about 1810.
PLANES, Luis Antonio, a painter, was born in
Valencia in 1765. He was instructed by his father
Luis Planes, and then went to Madrid, where he
studied under Francisco Bayeu, and gained the
gold medal of San Fernando. He died young, in
1799. One of his best pictures is an ' Immaculate
Conception,' in the Church of Albalat.
PLANO, Francisco, a Spanish painter, was born
at Daroca, and resided at Saragossa towards the
end of the 17th century. He had a great reput-
ation as a painter and architect, especially for decor-
ative works. Palomino places him beside Colona
and Mitelli ; and the works he has left in the sanc-
tuary of Nuestra Senora del Portillo, at Saragossa,
and other churches, would seem to justify the
assertion.
PLAS, PiBTEE, a Dutch painter, was at work at
Alkmaar in 1810. He was a pupil of J. van Ravenz-
waay, and G. Bodeman, and painted landscapes
and animals. He died at Alkmaar in 1863.
PLAS. See Van deb Plas.
PLASSARD, Vincent, was a French engraver of
the 17th century, of whom there are no particulars.
His only known print represents the ' Holy Family,'
in a mountainous landscape, and is signed F. Plas-
sard in. et fe. 1650. It is in the style of the
Carracoi.
PLATEAU, Antoinb, a flower and decorative
painter, was born at Toumai in 1759, and died in
1815. Several pictures by this artist are in the
' Temple of the Sun ' at Laeken, and in the house
of M. Walkiers.
PLATNER, Eenst Zachaeias, painter and writer
on art, was born at Leipsic in 1778, and was a son
of the philosopher, Ernst Plainer. He studied at
the Academy of his birthplace under Oeser, and
sought further improvement at Dresden from 1790,
at Vienna from 1797, and from 1800 at Rome. In
1823 he became Saxon consul at Rome, where he
died in 1855. He worked in conjunction with
Bunsen, Gerhard, and Rostel on their ' Description
of the City of Rome.' Among his best plates
are :
Lueretia.
The Dismissal of Hagar.
Hagar and Ishmael.
PLATTE-MONTAGNE, Matheus db, (Plat-
TENBERG, Or VAN Platten-Bbkch,) was bom at
Antwerp about 1608. Having acquired the first
rudiments of art in his native city, he went to
Italy, and resided some time at Florence, where, in
conjunction with his countryman, Jan Asselyn,
called Crabetje, he painted several sea-pieces and
landscapes, which were greatly admired. He
afterwards visited Paris, where his works were not
less esteemed, and he met with sufficient encourage-
ment to induce him to settle there for some time.
Prom a singular caprice, he Frenchified his name
of Platten-Berchinto that of Platte-Montagne, which
he sometimes signed to his pictures and prints,
and sometimes Montague only. He died in Paris
in 1660. His landscapes are highly finished, and
exhibit very pleasing scenery. A ' Storm at Sea,'
by him, is in the Augsburg Gallery. We have a
few etchings, executed in a very spirited style.
They represent landscapes and marines, and re-
semble the works of Fouquiires, under whom he
learnt engraving. They are usually inscribed M.
Montagne in. et f. He was the brother-in-law of
299
Flatte-lVContagne
A BIOGRAPHICAL DICTIONARY OF
Ploetz
Jean Morin, and the larger number have the ad-
dition, Morin ex. cumprivil. He.
PLATTB-MONTAGNB, Nicolas de, (Platten-
BEEQ, or VAN Platten-Beech,) was born in Paris in
1631, and studied painting under Philip de Cham-
paigne. He was instructed in engraving by Jean
Morin, whom he surpassed. His principal works
as a painter are in the churches of Notre Dame,
St. Sacrament, St. Sulpice, and St. Nicolas des
Champs, in Paris. He was also a reputable portrait
painter. In 1681 he became professor of history
to the Academy, and died in Paris in 1706. From
1651 to 1694 he executed twenty-eight plates with
the point and graver, in addition to ten portraits.
Among other prints we have the following by him :
The Portrait of Olivier de Castellan, general, killed at
the siege of Tarragona in 1644.
St. G^n^vi^ve ; after JP. de Champaigne.
Christ in the Tomb ; after the same.
The Penitent Magdalene ; after the same.
The Sudarium of St. Veronica ; after the same.
PLATTEL, Henri Daniel, a French historical
and landscape painter, was bom at Geneva in 1803.
He was a pupil of N. Berlin and of R6mond, and
died in 1859.
PLATTNER, Andreas, painter, a native of
Nuremberg, was a pupil of his father Alexander.
In 1695 he went to Munich in the train of Duke
Ferdinand, where he remained till 1601. He died
about 1617.
PLATZEB, Johann Geoeg, (or Plazer,) was
born, according to Fussli, at Epan, in the Tyrol, in
1702, and studied under his step-father Kessler,
and with his uncle on the father's side, who was a
painter at Passau. In 1721 he went to Vienna,
and there became intimate with an artist of the
name of Jannek. Tliey adopted the same style of
painting, but it did not weaken their friendship,
and the public were benefited by their rivalry.
Platzer returned to his native country, where he was
living in 1755. The cities of Breslau and Glogau
possess many good specimens of his finer work.
PLATZBE, Johann Victor, is called by Nagler
a sculptor, though it does not appear that he
exercised that art. The same writer says that he
was born in Vintschgau, probably at Mais, in 1704,
and was a scholar of Kessler at Inspruok, until the
court-painter, Christoph Platzer, took him under
his care at Passau. He afterwards established
himself at Vienna, and painted small pictures,
mostly with many figures, which were received
with much applause both at home and abroad.
His application was such that he weakened his
sight, and diminished the firmness of his hand, so
that in painting he was obliged to use a machine
to steady it. In the year 1755 Platzer returned to
the place of his nativity, and died in 1767. His
garish pictures have nothing to recommend them
but manual dexterity. Among the best are :
The Four Elements.
Men and Women Drinking and
making Music.
PLATZER, Joseph, a painter of architecture,
theatrical decorations, moonlights, and small his-
torical subjects, was the son of the celebrated
sculptor, Ignaz Platzer, and was born at Prague
in 1752. After the completion of his scholastic
studies he devoted six years to drawing, chiefly
architecture, under the direction of F. Wolf. In
oil painting he was his own master, and while still
young, was favoured by the patronage of Prince
Kaunitz. Thus encouraged, he went to the Vienna
300
Dresden.
Vienna.
Selvedere.
Academy, and was afterwards selected by the
emperor Joseph II. to embelhsh the royal theatre.
During these operations he encountered many
obstacles, and was obliged to maintain his reput-
ation by painting moonlights, historical composi-
tions, and small theatrical designs. On the ac-
cession of Leopold II. he was promoted at court,
became a member of the Vienna Academy in 1796
and died in 1810. One of his pictures, 'The
Murder of Semiramis,' is in the Academy building.
He also painted in aquarelle.
PLAYTER, Charles Gauthier, was an English
engraver, who flourished in the latter part of the
18th century, and worked for Boydell on the Shake-
speare Gallery. He died at Lewisham in 1809.
Amongst his plates are :
Scene from the ' Comedy of Errors ; ' after Rigaud.
Lady Godiva j after JV. Hamilton.
PLEGINCK, Martin, was a German engraver
on wood and on copper, who flourished about the
year 1590. He engraved a set of copper-plates
representing figures fighting, entitled 'Fechter-
Bu^ohlein,' in a style resembling that of Virgiliua
Soils. His woodcuts are in the manner of Jost
Amman. Bartsch and Passavant describe fifty-
three prints by this master, which are of small size,
and represent ecclesiastical orders and. dignities,
cavalry and foot soldiers (after J. De Gheyn),
animals, and goldsmiths' work : the date 1594 is on
some of them. Zani says he was working in 1606.
PLEISTBINETUS, a brother of Pheidias, is
stated to have been a painter, but nothing more
than this is known of him.
PLEYDENWURFF, Wilhelm, one of the early
engravers on wood, was a native of Germany, and
flourished about the year 1493. Conjointly with
Michel Wolgemut, he is said to have executed the
cuts for the Nuremberg ' Chronicle,' compiled by
Hermann Schedel, and printed in 1493. They
represent views of towns, &c., and figures of vari-
ous kinds.
PLEYSIBR, A., a Dutch marine painter, bom at
Naardingen in 1809. He died in 1879. In the
Bruges Academy there is a ' Coast Scene ' by him.
PLIMER, Andrew, an English miniature painter,
born at Bridgewater in 176B. He practised at
Exeter, and exhibited at the Academy from 1786 to
1819. His works possess many excellent quahties.
He occasionally painted subject pictures in oil.
He died at Brighton in 1837. There are two mini-
atures of the statesman Windham by him in the
South Kensington Museum.
PLIMER, Nathaniel, an English miniature
painter, bom at Wellington in 1751. He was the
elder brother of Andrew Plimer, but did not pos-
sess his artistic power. His works occasionally
appeared at the Academy from 1787. He died in
1822.
PLIN, B., was a native of France, who flourished
about the year 1780. He engraved some plates
representing conversations and domestic subjects,
which are etched, and finished with the graver.
PLOBGSMA, Dirk Jacobs, a painter, was born
at Leeuwarden in 1769. He was a pupil of Accama
and chiefly painted portraits, though there were
some historical scenes and genre pictures executed
by him, among which we may name ' The Disciples
plucking Corn on the Sabbath Day.' He died in
1791.
PLOETZ, Heinrich, a miniature painter, was
born at Holstein in 1748. He was instructed by
Ploniok
PAINTERS AND ENGRAVERS.
Plumier
Marsinhe of Ghent, after which he entered the house
of the famous naturalist Bonnet, and made draw-
ings of insects, till 1795, when he went to Italy.
There he visited Leghorn, Corsica, and Genoa, and
afterwards went to Germany, painting portraits
in Hamburg and Berlin. He finally settled in
Copenhagen, where he died about 1810.
PLONICK. See Duplonich.
PLOOS VAN AMSTEL, Jacob CoENELis,who was
born at Amsterdam in 1726, and died there in 1798,
was a collector of drawings and an amateur en-
graver. He devoted himself to the art with a zeal
rarely found in persons who do not adopt it as a
profession, and to him we are indebted for a very
interesting set of plates, after drawings by cele-
brated Dutch and other masters. The following is
a list of the more important :
Frontispiece, a Monument bearing a Latin inscription ;
on it stands a Genius holding an Bsoutclieon, in
the middle a Fleur-de-Iys ; Inventor Cornelius Ploos
van Amstel, D. 1 Febr. 1765.
Two small Landscapes; H. Zaftleven, del.; v. Amstel,
fecit. 1766.
A Landscape, with a Shepherd, Shepherdess, and Oattle
on the Banks of a Canal ; Ad. van de Velde, del. ; F.
van Amstel, fecit.
A "Woman looking out of a Door ; Rembrandt, del. ; P.
van Amstel, fecit. 1764.
A Young Man with a Hat on, looking out of a Door ;
same inscription. These two are clever imitations of
Rembrandt.
The Interior of a Dutch Cottage, with Peasants, one
reading a paper; Ad. v. Ostade, del., 1673; P. van
Amstel, fecit, 1766.
A Frost Piece, with six Spanish figures, one a Woman
with a Mask ; Sendrik Avercam, del., 1621 ; P. van
Amstd,fecit, 1766.
Portrait of Jan Josephzoon van Goyen ; Ant. van Byck,
del., 1638 ; P. van Amstel, fecit, 1T69.
A Landscape, with a Market at the entrance of a Town ;
Jan Josephzoon van Goyen, del., 1653 ; P. v. Amstel,
fecit, 1767.
A similar subject, with a Oattle Market ; same inscription.
A Lady seated at a Harpsichord ; Ger. Douw, del., 1660 ;
P. v. Amstel, fecit, 1767.
A Sea-piece, with Shipping; Ludolf Bakhuysen, del.,
1694; P. V. Amstel, fecit, 1769.
A Landscape, with a "Woman riding on an Ass, with
Cattle, by the side of a Canal ; JV. Berghem,, 1764 ;
P. van Amstel, fecit, 1769.
The Virgin Mary, with the Infant Jesus. A circular
plate. Abr. Bloemaert, del.; P. v. Amstel, fecit, 1769.
An assemblage of Peasants before an Alehouse, with a
Man playing on the Violin, and another dancing ; Ad.
V. Ostade, del., 1673; P. v. Amstel, fecit, 1769.
Portrait of a Young Lady, with a Book on a Table ; H.
Goltzius, del., 1612 ; P. v. Amstel, fecit, 1770.
Portrait of a Young Man, sitting in a Chair ; C. Visscher,
del., 1651 ; P. v. Amstel, fecit, 1771.
Landscape, with a Man leading a Horse, and in the
foreground some Women washing ; Ph. Wouwerman,
del., 1660; P. v. Amstel, fecit, 1772.
The Inside of a Church, with a Man drawing ; P. Saen-
redam, del., 1630 ; P. v. Amstel, fecit, 1774.
A Spanish Concert ; Karel van Mander, del., 1603 ; P.
V. Amstel, fecit, 1772.
A Man seated, holding a Flute, with a Bonnet in the
manner of Eembraudt; G. Flinck, 1643; PI. van
Amstel, fecit, 1773.
A Sea-piece, with Shipping ; P. Coops, del. ; P. v. Am-
stel, fecit, 1773.
An assembly of Peasants, one sleeping; Ad. Brouwer,del.,
1635; P. V. Amstel, fecit, 1775.
A Man sitting at a Table, with Cards in his hand ; F.
Mieris, del., 1693 ; P. v. Amstel, fecit, 1777.
Two Dogs, small prints ; similar inscription.
Three Peasants, one with a Bottle ; G. Dusart, del. ; PI.
van Amstel, fecit.
A Young Lady taking a Beverage presented by a Boy,
and a Physician standing near her; Ger. Terburg,
del. ; PI. van Amstel,fecit, 1779.
A Young Lady, with a musical Instrument ; G. Netscher,
del., 1664 ; P. van Amstel, fecit, 1781 ; oval.
Two Sea-pieces ; Ludolf Bakhuysen, del.; PI. v. Amstel,
fecit, 1781.
The Judgment of Solomon ; Lucas van Leyden, del.,
1515 ; P. V. Amstel, fecit, 1782.
A Landscape, with Euins, and a Man with an Ass ; Th.
Wyck, del.; P. v. Amstel, fecit, 1782.
A View in Norway, with figures ; Aid. van Everdiiigen,
del. ; P. V. Amstel, fecit, 1782.
Five Dutch Magistrates sitting round a Table ; J. de
Bray, del., 1663 ; PI. v. Amstel, fecit.
The Attorney and his Clerk ; /. Steen, del., 1672 ; P. v.
Amstel, fecit.
A Landscape, with Buins, and a Shepherd with Sheep
and Goats ; J. van der Does, del., 1699 ; P. van Amstel,
fecit.
A mountainous Landscape, with Cattle ; J. v. der Meer,
de Jonge, del., 1704 ; PI. v. Amstel, fecit.
The Carpenter and his Wife ; J. Saenredam, del., 1610 ;
P. V. Amstel, fecit.
The Inside of a Cottage, with Peasants ; Corn. Bega,
del., 1684; P. v. Amstel, fecit.
The Botanist, with Figures bringing him Plants ; G. o.
den Eeckhout, del.; P. v. Amstel, fecit.
A Landscape, with four Sheep ; K. du Jardin, del. ; P.
V. Amstel, fedt.
The Chymist ; J. Zanghans, del., 1711 ; P. ii. Amstel,fecit.
Shipping ; J. Esselens, del., 1708 ; P. van Amstel, fec:t.
PLOTT, John, was born at Winchester in 1732.
In the early part of his life he was articled to an
attorney, but he did not long follow the profession.
In 1756 he came to London, and having shown an
inclination for painting, he became a pupil of
Richard Wilson, the landscape painter ; but his
genius directing him to portraiture rather than
landscape, he quitted that master, and placed him-
self under the tuition of Nathaniel Hone. He
afterwards distinguished himself as a miniature
painter, both in enamel and water-colours, though
he sometimes painted in oil. He had a taste for
natural history, and executed several drawings in
that branch. Whilst in London in 1777 he ex-
hibited at the Academy. Towards the latter part
of his life he resided at Winchester, and some years
before his death became a member of the corpor-
ation of that city. He began a history of ' Land
Snails,' and had made some beautiful drawings for
it when interrupted by death. He died at Stoke,
near Winchester, in 1803. Bromley mentions a
mezzotint portrait of Plott, scraped by himself.
PLUDDEMANN, Hebmann Fbeihold, historical
painter, was born at Colberg in 1809. His first
master was Seig in Magdeburg, and in 1828 he
entered the studio of K. Begas in Berlin, and went
in 1831 to Diisseldorf, to the atelier of W. von
Sohadow, with whom he remained six years. In
company with H. Mucke he completed a number
of frescoes for Count Spee in his sohloss at Heltorf,
and in 1843 he painted a wall in the Eath-haus of
Elberfield. He went in 1848 to reside at Dresden,
where he died in 1868. Among his pictures we
may name :
Loreley. 1833.
The Death of Roland. 1834.
Columbus catching sight of Land. 1836. (Berlin Nat.
Gallery.)
The Battle of Iconium (fresco) ; after Lessing. 1839.
(Schloss Heltorf.)
Columbus in La Eabida. 1845.
The Finding of Barbarossa's Corpse. 1846.
The Landgrave Ludwig. 1849.
Prince Hal and Falstaff. 1860.
Henry at Canossa. 1863.
PLUMIER, Edmond, painter, was born at Liege
in 1694. He was a pupil of Pisen and Largilliere
at Paris. He then went to Italy, and entered the
301
Po
A BIOGRAPHICAL DICTIONARY OF
Foelenburgli
atelier of Masucci. He had a son, Jacques Theodoe,
also a painter, who died in 1766. In the church
of S. Remade at Liege is a ' Descent from the
Cross ' by this artist. He died in 1733.
PO, P. DEL. See Del Po.
POGCBTTI. See Barbatelli.
POCCI, Peanz, Graf von, draughtsman, etcher,
poet, and musician, was born at Munich, March 7,
1807. He owed such teaching in art as he had
to the example of his mother, Amalia Franziska
Xaveeia (born in Dresden, 1776 ; died, 1849). From
1825 to 1828 he studied jurisprudence, and then
became a member of the Bavarian Government.
In 1830 he was named a master of the ceremonies
at the court, and shortly afterwards accompanied
King Ludwig and the Crown Prince to Italy.
Poooi's beat works as an artist are his etchings
for Grimm's ' Volksmarchen ' and for Sohreiber's
« Marchen.' He died May 7, 1876.
POOH, Tobias, (Pock,) a German historical and
still-life painter, who flourished at Constance in
the 17th century. He was living at Vienna in 1662.
POCHMANN, Teadgott Lebereoht, portrait
painter, was born at Dresden in 1762. He was a
Professor of the Dresden Academy, and died in
1830. His own portrait is in the Dresden Gallery.
POCO e BUONO. See Nanni.
POCOCK, Isaac, an English portrait and his-
torical painter, the son of Nicholas Pocock, was
born at Bristol in 1782. He studied under Ronjney
and Beechey, and in 1807 was awarded a prize of
£100 by the British Institution for his ' Murder of
St. Thomas k Beoket.' His works occasionally
appeared at the Academy between 1800 and 1819,
and he also exhibited at the Liverpool Academy,
of which he was a member. Inheriting property,
he retired from the practice of art, and amused
himself by writing for the stage. He died at
Maidenhead in 1835. There is a portrait of Bartley
as Hamlet bj- him at the Garrick Club, London.
POCOCK, Nicholas, an English marine painter,
born at Bristol in 1741. His family were mer-
chants, and in his younger years he commanded
a vessel. During his voyages he was enabled to
exercise his talent for sketching, and he at length
devoted himself entirely to art. He attracted the
favourable notice of Sir J. Reynolds, and first
exhibited at the Academy in 1782. Seven years
later he moved to the wider sphere of London, and
was much engaged in depicting the naval battles
of the period. He was one of the original members
of the Water-Colour Society, where he exhibited
up to 1817. He died at Maidenhead in 1821. The
following are some of his woiks :
Greenwich. Hospital. Defeat of the French Fleet at
St. Kitfs, 1782.
„ „ H.M.S, Triton.
„ „ H:.M.S. Defence.
„ „ Cutting out a Vessel.
London. ^^/A^i;^^^-) A Mountainous Country. 1790.
„ „ Bangor, with Fenmaenmawr.
1795.
„ ,, Oaderldris. 1790.
„ „ Llanstephan Castle.
PODESTA, GiAQOMO Andrea, was born at Genoa
about the year 1620, and went early in life to
Rome, where he became a scholar of Giovanni
Andrea Ferrari. The year of his death is not as-
certained. It does not appear that he reached any
celebrity as a painter; but we have some very
spirited etchings by him, which prove him to have
been an artist of considerable ability. He usually
302
marked his plates AND- P. or And. P. in. etfec.
One of his prints is marked 1636, and four others
1640, which was probably his best time. Bartsch
describes eight engravings by him, of which five
are bacchanalian subjects, two amatory, and one
a St. Francis performing a miracle. The following
are also by him :
An Allegorical Subject, representing Boys cultivating
the Arts, and a PhoMiix in the Flames ; after his own
The Triumph of Bacchus ; after Titian.
Bacchus and Ariadne ; after the same,
Silenus Drunk, supported by Satyrs and Bacchanals ;
after the same.
Two subjects from the Life of Diego ; after Carracci.
POEHAM, Maetin, an old German engraver, to
whom Professor Christ attributed some indifferent
copies from the prints of Aldegrever, Sebald Beham,
and others,
POEL. See Van dee Poel.
POELENBURGH, Coenehs van, (or Poelbm-
BUEG,) called also Beusco and Satyeo, was born
at Utrecht in 1586. He received his first instruc-
tion from Abraham Bloemaert, and then travelled
to Italy in search of improvement. On his arrival
at Rome, he attached himself to the style of Adam
Elsheimer. He adopted a pleasing style of painting
small landscapes, distinguished by suavity and
delicacy of colouring, and an agreeable choice of
scenery, enriched with architecture, into which he
introduced figures remarkable for the fusion of
their handling, their clear carnations, and mediocre
drawing. He quitted Rome with some reluctance,
after a sojourn of several years ; and on his arrival
at Florence, where the reputation of his talents had
preceded him, he was received with favour and
distinction by the Grand Duke, for whom he
painted several pictures. On his return to Utrecht,
the impatience of his countrymen to possess his
works loaded him with commissions. In 1607
Charles I. invited him to London, where he re-
mained some time, and painted several pictures for
the king and the nobility. He frequently orna-
mented with figures the architectural views of
Steenwyck, and the landscapes, of Keimnckx. In
King Charles's catalogue are mentioned the por-
traits of his Majesty, and of the children of the
King of Bohemia, by Poelenburgh ; and in that of
James II. there are sixteen pictures by him. But
the success he met with did not induce him to remain
in England. He returned to Utrecht, where in
1649 he was made President of the Painters' Guild,
and where he died, August 12, 1667. Descamps and
M. Watelet assert that Poelenburgh etched some
prints from his own designs, and that the plates
being soon afterwards destroyed, they are now ex-
tremely scarce. Possibly the prints thus attributed
to Poelenburgh are those etched by J. G. Bronk-
horst after his designs. Jan van der Lys was an
imitator of his style. Poelenburgh' s pictm'es are in
nearly all the Galleries of Europe ; among them the
following may be named :
Cassel. Gallery. The Virgin.
„ „ Christ borne to Heaven by
Angels.
Dresden. Gallery. The Assumption of the Virgin.
„ „ Diana at the Chase.
Dulwich. Gallery. Nymph and Satyr dancing.
London. JVai. Gal. Judgment of Paris {in a landscape
hy Both).
,, „ Euins ; TVomen bathing.
Paris. Louvre. The Annunciation.
Vienna, Belvedere. The same subject.
Poeppelmann
PAINTERS AND ENaRAVBES.
PoiUy
POEPPELMANN, Johann David, a painter,
was born at Dresden in 1729. He was instructed
by Oeser, and painted portraits. In 1762 he was
appointed one of the painters to the Count of
Saxony, and died in 1813.
POERBUSSE. See Pouebus.
POERSON, Charles, who was bom at Metz in
1609, and died in Paris in 1667, was a pupil of
Simon Vouet, and became painter-in-ordinary to the
king and Rector of the Eoyal Academy of Painting.
POERSON, Charles Franqois, a French painter,
was born in Lorraine in 1652. He was a son of
Charles Poerson, and a pupil of Noel Coypel, in
whose style he painted history. Through the patron-
age of M. Mansard, he was introduced to the notice
of Louis XIV., and was employed on some his-
torical subjects for the Hospital of the Invalids ;
these, however, were soon afterwards destroyed,
and replaced by some frescoes by Bon de Boul-
longne. He was subsequently appointed director
of the French Academy at Rome, where he died
in 1725.
POESEL, Wolfgang, a painter, was bom at
Amberg in 1736. He painted for several of the
churches in his native district, and died in 1797.
POGrET, Jean, a miniature painter, who flourished
early in the 16th century. Some of his work is in
the 'Livre d'heurs,' of Anne of Brittany, in the
Mus^e des Souverains of the Louvre.
POGGETTL See Baebatelli.
P06GI, Cesake, historical painter, was born at
Milan in 1803. He was a pupil of Sabatelli, but
after 1824 studied in Venice and Rome. He died
at Milan in 1859, a member of the Academy there.
Besides a large number of pictures by him in the
churches of Lombardy, we may name the follow-
ing:
Death of Clarissa Visoonti. {Count Arese.)
The Adulteress before Christ. {Marchess fusca.)
Brutus and Ligarius.
St. John the Baptist.
Susannah in the Bath.
Three Card-players.
Bomau Bobbers.
POGGrlNO, Zanobi di, an Italian painter, who
flourished in the 16th century. He was a pupil of
Sogliani, and painted portraits and historical scenes,
of which a considerable number are still to be found
in Florence.
POGGIO, G. DEL. See Giovanni di Paolo,
POILLY, FEANgois db, the elder, an eminent
French engraver, was born at Abbeville in 1622
or 1623. He was the son of a goldsmith and en-
graver, who instructed him in the rudiments of
art. He afterwards went to Paris, where he became
a pupil of Pierre Daret, under whom he remained
three years, and afterwards visited Rome, where
he took Cornells Bloemaert as his model. During
a residence in Rome of seven years, he greatly
improved his design, and engraved several plates
after the works of the great Italian masters. In
1656 he returned to Paris, where he became one
of the most celebrated engravers of his time, and
country. In 1664 he was appointed engraver in
ordinary to the king. He died in Paris in 1693.
His plates are executed entirely with the burin,
which he handled with uncommon firmness and
dexterity. Though he had the assistance of some
able pupils, it is surprising that he could have
finished so many plates. About 400 prints bear
his name, and Nagler describes 107 as entirely by
him. The following are among his best :
PORTRAITS.
Pope Alexander VII.
Louis XrV. when young ; a^ter Wocret.
Cardinal Mazarin ; after Mujnard.
Henri d'Amaud, Bienop of Angers.
Jerome Bignon, CounseUor of State ; after Fhilippe de
Champaigne.
Abraham Fabert, Marshal of France ; after Ferdinand.
Gruillaume de Lamoignon, with Allegorical Figures;
after Miynard.
Bust of Guillaume de Lamoignon ; after Le Brun.
SUBJECTS FROM HIS OWN DESIGNS.
The Virgin and Child.
The Holy Family, with St. John embracing the Infant
Christ.
St. Ignatias Loyola.
The Death of St. Francis Xavier.
The Crucifixion.
The Triumph of Augustus.
SUBJECTS AFTER VARIOUS MASTERS.
The Vision of Bzelriel ; after Raphael.
The Holy Family, in which the Infant Christ is standing
upon the cradle (Louvre) ; after the same.
The Virgin lifting up a veil, to show to St. John the
Infant Christ sleeping (Vierge au Diademe, L'juvre) ;
after the same.
The Flight into Egypt; after Ouido.
The Nativity, or Adoration of the Shepherds, in an octa-
gonal border ; after the same. The first impressions
of this plate are before the two angels which appear
above were inserted.
Christ praying in the Garden ; after the same.
The dead Christ on the lap of the Virgin, at the foot of
the Cross ; after L. Garracci.
The Eepose in Bgypt, in which the Virgin is represented
sleeping, with two Angels kneeling ; after Ann. Car-
racci.
The Holy Family ; after N. Poussin.
The Marriage of St. Catharine ; after P. Mignard.
The Holy Family ; after the same.
The Baptism of Christ ; after the same.
S. Carlo Borromeo administering the Communion to
Persons infected with the Plague; after the stme.
The Visitation ; after G. le Brun.
St. John in the Isle of Patmos ; after the same.
The Crucifixion ; after the same.
The Parable of the "Wedding Garment; after P. de
Champaigne.
The Crucifixioa; a large print, in three sheets; after
the same.
The Trinity ; after the same,
Joseph's Bloody Garment presented to Jacob; after
Charles Antoine Coypel, '
Nymphs Bathing ; after Giulio JRamano,
POILLY, FEANgois de, the younger, the younger
son of Nicolas de Poilly, was born in Paris in 1671,
and was instructed in engraving by his father. He
afterwards travelled with his brother to Rome,
where he engraved a plate representing ' St. Cecilia
distributing her wealth to the Poor,' after Domeni-
chino, a companion print to the Martyrdom of that
Saint, by Jean Baptiste de Poilly.
POILLY, Jean Baptiste db, the son and pupil
of Nicolas de Poilly, was horn in Paris in 1669.
Having made some progress in engraving under
his father, he went to Rome, where he studied
some years. On his return to Paris he executed
several plates, by which he gained a considerable
reputation, and was made a member of the Academy
in 1714. He died in Paris in 1728. His style of
engraving differs greatly from those of his father
and uncle. He forwarded his plates with the point,
and finished them with the burin, in a pleasing
and picturesque style. We have several portraits
303
PoiUy
A BIOGRAPHICAL DICTIONARY OF
Polanco
and historical subjects by him, of which the follow-
ing are the most deserving of notice :
PORTRAITS.
Clement XIII. Pontifex Max.
Louis SIV. ; after Mignard.
Charles James Edward Stuart, son of the Pretender;
after Diiprat.
Francois de Troy, Painter ; from a picture hy himself,
his reception plate at the Academy.
Cornells van Cleve, Sculptor ; after Vivien ; the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Nativity; after Gaudenzio Ferrari ; for the ' Collec-
tion Crozat.'
The Virgin adoring the sleeping Christ ; after Garofalo ;
for the same publication.
The Martyrdom of St. Cecilia ; after JDomenichino.
The Adoration of the Shepherds ; after G. Maratti.
The Eod of Aaron devouring the Rods of the Magicians ;
after If. Foussin.
The Israelites worshipping the Golden Calf ; after the
savie.
The Holy Family ; after the same.
The Judgment of Solomon ; after A. Caypel.
Susannah and the Elders ; after the same.
Jupiter and Danae ; after Giulio Homano ; for the
' Collection Crozat.'
Eleven Plates from the pictures hy F. Mignard, in the
saloon of St. Cloud.
The Four Seasons ; from pictures formerly in the Giallery
of St. Cloud, by Mignard,
POILLY, Nicolas db, was born at Abbeville in
1626. He was the younger brother of Frangois the
elder, by whom lie was instructed in the art of
engraving. He executed several plates in the
style of his brother. He died in Paris in 1696.
He has left several plates from portraits and from
historical subjects, executed with the burin, in a
neat, clear manner. The following are perhaps the
best:
PORTRAITS.
Louis XIV., in a frame of laurels, with Children bearing
emblems ; after N. Mianard.
Bust of Louis XIV., life-size. 1083.
Maria Theresa, Queen of France ; the same. 1680.
Louis, Dauphin, the son of Louis XIV. ; the same.
Louis de Bourbon, called the Great Cond^ ; the same.
SUBJECTS AFTER VARIOUS MASTERS.
St. Augustine holding a Crucifix.
The Holy Family, with two Angels holding a Basket of
Flowers ; after S. Fourdon.
The Marriage of St. Catharine ; after the same.
The Presentation in the Temple ; after G. le Brwa.
The Holy Family returning from Egypt ; after the same.
The Holy Family, with the Infant Jesus sleeping on the
knees of the Virgin ; after the same.
The Eepose in Egypt ; after Chapron.
The Crucifixion ; after N. Fimsstn.
POILLY, Nicolas de, the younger, was bom in
Paris in 1675. He was the third son of Nicolas
the elder, and studied painting under Mignard and
Jouvenet. Among his pictures are ' Calvary,' en-
graved by himself, and ' Jesus waited on by Angels,'
painted for the Refectory of the Abbey of S. Martin
des Champs. He died in 1747.
POILLY, Nicolas Jean Baptiste de, the son of
Jean Baptiste de Poilly, was born, according to
Nagler, in Paris in 1712. He was intended by his
father for an engraver, but he did not long follow
that branch of art. He engraved a few portraits,
after C. N. Cochin, some of which are dated 1763 ;
one of his prints bears the date 1768.
POINDRE, Jacob de, a portrait painter of Malines,
was born at Malines in 1527, and was a scholar of
304
his brother-in-law, Marc Willems. He painted a
few historical pictures, but attached himself more
particularly to portraiture. He went to Denmark,
and painted imaginary portraits of some of the
kings. He died in Denmark in 1570.
POINSART, J., a French engraver, flourished
about the year 1630. He was principally employed
by the booksellers, for whom he executed several
plates of views of cities, castles, &c. Among other
prints by him is the 'Entry of Charles II. into
Rheims.'
POINTS. See Db la Pointe.
POISSON, Louis, a French painter, who worked
at Fontainebleau about 1610, where he was custodian
of the pictures. He was succeeded by his son
Pierre in 1613, and in 1643 by his grandson Jean.
POITREAU, Etiennb, a French landscape paint-
er, born at Corbigny. He was received into the
Academy in 1739, and died in 1767.
POITTEVIN. See Le Poittbvin.
POL, , of Limburg, is the author of some
miniatures executed in 1409 in a prayer-book of
the Duke of Berri, in the Biblioth&que Ste. Gene-
vieve, and in a ' Josephus ' of the year 1410 in
the public library of Paris. Of these miniatures
Mr. J. A. Crowe says, "They remind us of later
productions of the Van Eyoks in the originality of
cojioeption, the peculiar embodiments of form, and
the remarkable tendency to realism which they
display."
POL, Christiaan van, a flower and arabesque
painter, was born at Berkenrode, near Haarlem, in
1762. In 1782 he went to Paris, where he obtained
a great reputation far Lis paintings in arabesque.
He ornamented in thisi manner the chateaux of
Bellevue, Chantilly, and St. Cloud. He also painted
flower-pieces in oil, and occupied himself occasion-
ally in painting groups of flowers on snuff-boxes,
which are of considerable merit. He died in 1813.
POLACK, Solomon, a miniature painter, bom at
the Hague in 1757, who settled in England, and
exhibited at the Academy almost every year from
1790 to 1835. He practised for a time in Ireland,
about 1795. He designed and etched the plates
for a Hebrew edition of the Bible. He died at
Chelsea in 1839.
POLACK, Martin Theophilus, a Pole by birth,
who gained his reputation in the Tyrol, where he
was painter to Duke Leopold, and after his death
in 1632 to Cardinal van Madruz. His masterpiece
is to be found in the church of the Servites at
Innsbruck, and a few of his works are at Trent.
POLANCO, — -. Two brothers of this name
are mentioned among Spanish historical painters.
Scarcely anything is recorded of them, except
that they studied under Francisco Zurbaran, and
flourished at Seville about 1646. It is said
that their works were so like those of Zurbaran,
that they were often mistaken for his. This is
borne out by the pictures in the church of San
Esteban, at Seville, where Zurbaran painted the
' St. Peter and St. Stephen,' but where the ' Mar-
tyrdom of the Patron Saint,' the ' Nativity,' and
the ' St. Fernando,' are by the brothers Polanco.
They also painted several large pictures for the
sacristy of the convent of St. Paul, in the same
city ; and ' The Angels appearing to Abraham,'
' Tobit and the Angel,' ' Jaoo"b wrestling with the
Angel,' ' Joseph's Dream,' and ' St. Teresa conducted
by Angels,' the last for the church of the Guardian
Angel, belonging to the Barefooted Carmelites and
the Franciscan Friars.
Polanzani
PAINTERS AND ENGRAVERS.
Polygnotus
POLANZANI, Felice, (or PoLanzi,) an engraver,
was born at Andale, near Venice, about the year
1700, and is believed to have been living up to
1771. He chiefly resided at Rome, where he en-
graved a set of twenty-two plates, representing the
' Life of the Virgin,' from designs which are by
some attributed to N. Poussin ; but from their
resemblance to the style of J. Stella, they are more
probably after the works of that painter. He also
engraved after Van Dyck and various other masters.
The following prints are perhaps his best :
The Bust of a Woman ; after C. Cignani,
The Bust of a blind Musician ; after Marco Bewjiali.
The Virgin and Infant Christ ; afta- G. Nogari.
An old Man holding a Money-bag ; after the same.
An old "Woman warming her hands ; after the same.
POLAZZO, Francesco, a Venetian painter, bom
in 1683. He was a pupil of Piazetta, and painted
portraits and historical subjects, though he was
better known as a restorer of pictures. He died in
1753.
POLESTANUS, Andrea, who was a native of
Italy, and apparently a painter, has left a slight
etching of a Bacchanalian subject, a composition
of many figures, from his own design. It is signed
with his name, and dated 1640.
POLETNICH, J. F., an engraver, resided in
Paris about the year 1760, and was still living in
1780. He executed several plates after the works
of Van Dyck, Boucher, La Gren^e, and others,
POLIDORINO, IL. See Bdviale.
POLIDORO DA OARAVAGGIO. See Caldara.
POLIDORO VENEZIANO. See Lanzani.
POLLACK, Leopold, a still-life and genrepainter,
bom at Lodenitz in Bohemia about 1806 or 1809.
He studied in Prague, Munich, and, in 1833, in
Rome. He painted scenes of Italian life, in which
he took Riedel for his model. Some of his pictures
have been engraved by Mandel, Straucher, and
others. He diedin 1880, Works :
The Shepherd Boy.
Shepherdess with Lamb.
Zuleika (from Byron).
Maternal Love.
POLLARD, Egbert, an English engraver, bom
at Newcastle-on-Tyne in 1755. He began life as a
silversmith ; then, after receiving some instruction
from Richard Wilson, he painted landscapes and
sea-pieces. He finally devoted himself to en-
graving, working in various manners, and fre-
quently reproducing his own deagns. His latter
years were passed in poverty, and shortly before
his death he handed over to the Royal Academy
the records of the Incorporated Society of Artists,
of which he was the last surviving member. He
died in 1838. Amongst the plates after his own
designs the best are :
Aglaia.
Euphrosyne.
The Blind Beggar of Bethnal Green.
At Fault (a hunting scene).
Lieut. Moody escaping from the Americans.
Childish Sports.
POLLASTRINI, Enrico, was bom at Leghorn
in 1817. He was a pupil of Bezzuoli, but was
also a diligent student of the old masters, as his
paintings bear witness. He had, however, much
originality of conception ; he was a good draughts-
man and a fair colourist. He was first professor
and afterwards president of the Academy of
Florence. He died in that city in 1876. Works :
The Kaising of the Widow of Nain's Son. (^Church of
the So"corso, Leghorn.)
VOL. II. ^
The Death of Ferrucoio.
Death of Duke Alexis of Melici.
Inundation of the Serchio. (Modern Gallery, Florence.)
Pia dei Polomei.
Death of St. Joseph.
St. Lorenzo giving Alms.
The Battle of Legnauo.
The Exiles of Siena.
POLLET, Victor Florence, painter and en-
graver, was born in Paris, November 22, 1811.
He was a pupil of Paul Delaroche and of Ricliomme.
In 1838 he won the grand prize of Rome and went
to Italy, where at first he painted more in water-
colours than he engraved. Later on, however, he
completed several excellent plates. He gained
honours at the Salon both as painter and engraver,
being decorated with the Legion of Honour in
1855. He died in 1883. Works :
water-colour drawings.
Salmacis.
Pandora.
Lycenium.
Innocence.
The Siesta.
The Bath.
PLATES.
Venus; after Titian.
Artless and Worldly Love ; after the same.
II Suonatore ; after Raphael.
Birth of Venus ; after Delaroche.
Maid of Orleans ; after the fame.
Bonaparte in Italy ; after Raffet.
Emperor of Austria ; after Wlnterhalter,
Empress of Austria ; after the same.
POLLINGER, Feux, an animal painter, bora at
Munich in 1817. His pictures of birds had some
merit. He died at Fiinfhaus, near Vienna, in 1877.
POLMARES. See Santiago Palomares.
POLO, Bernardo, a painter of fruit and flower
pieces, resided near Saragossa towards the end of
the 17th century. He painted his subjects from
nature, and his pictures were highly esteemed both
at Saragossa and Madrid. According to Zani, he
worked in 1680 and died about 1700.
POLO, Diego, ' the elder,' was bom, according
to Palomino, at Burgos in 1560. He studied at
Madrid, under Patricio Caxes, and was a reputable
painter of history. There are some of his works
in the Escorial, and in the palace at Madrid, in
which city he died in 1600. Tlie pictures by
which he gained his reputation are the portraits
of the kings of the Goths ; a painting of ' St.
Jerome chastised by an Angel for taking too much
pleasure in reading Cicero ' ; and a ' Penitent
Magdalene.'
POLO, Diego, ' the younger,' the nephew of the
elder Diego, was bom at Burgos in 1620, and was
a scholar of Antonio Lanchares. He acquired an
admirable style of colouring by studying the works
of Titian, in the royal collection ; and painted
several pictures for the churches at Madrid, of
which the most esteemed are the ' Baptism of
Christ,' in the church of the Carmelites ; and the
' Annunciation ' in Santa Maria. He also excelled
in portraiture. He died in 1655.
POLONY, Zakaria, was an obscure engraver,
who resided in Paris about the year 1615. Among
other prints we have by him a slight etching,
representing ' Queen Margaret lying in state, in
the Faubourg St. Germain,' Paris.
POLYDOR. See GLAnBEE, JoH.
POLYGNOTUS, the earliest of the greater mas-
ters of ancient Greek painting, was a native of
the island of Thasos, and a younger contemporary
305
Folzone
A BIOGRAPHICAL DICTIONARY OF
Pompadour
of Pansenus. He flourished from 480 to 430 B.C.,
and came to reside at Athens about 463. He was
the son and pupil of Aglaophon the elder, and was
the first painter who raised the art into an inde-
pendent position, instead of one of subordination
to architecture and sculpture. Endowed with a
taste for poetry as well as painting, he had not
only stored his mind with the beauties of the
' Iliad ' and the ' Odyssey,' but had studied all the
epic poems then extant, which furnished him with
the mythological subjects with which he adorned
the temples and porticoes of Athens, Delphi, and
other cities of Greece. The Amphictyonic Council
decreed by way of recompense that Polygnotus
should be maintained at the public expense when-
ever he came ; and the Athenians voted him their
citizenship.
Pliny is lavish in his eulogies on the powers of
this painter. According to that writer, he was the
first artist who gave an air of ease and grace to his
figures, dressed his females in rich and elegant
vestments, and, above all, characterized his heads
with an expression which was entirely unknown
before him. There undoubtedly remained in his
work much crudity and deficiency as compared
with the freedom of nature ; but his style was
idealistic and grand, and Aristotle assigns to him a
similar position in art to that occupied by Homer
in poetry. He repeats the designation iriBoypaipog
('mind-painter'), which had already been applied
to him, and says that he painted men better than
they are. He gave proof of his extraordinary
capacity in vanquishing difficulties in his cele-
brated picture of ' Cassandra.' He represented the
daughter of Priam at the moment she had been
brutally outraged by the Telamonian Ajax. The
face of the unfortunate captive was partially
covered with a veil, but the glowing blush of con-
fusion-was visible in her countenance, which dis-
played all the symptoms of insulted modesty. This
performance is alluded to by Lucian in discussing
the features of his perfect woman. " Polygnotus,"
he says, " shall open and spread her eyebrows, and
give her that warm, glowing, decent blush which
so inimitably beautifies his 'Cassandra.' He like-
wise shall give her an easy, tasteful, flowing dress,
with all its tender and delicate folds, partly
clinging to her body,, and partly fluttering in the
wind." The picture in question was the part of a
larger one, or peihaps of a series, representing the
' Trial of Ajax by the Greeks ' ; it adorned the
Pcecile {iroiieiXri aroa, or ' painted portico ') of the
Agora at Athens.
The particular work which induced the Athenians
to receive Polygnotus into citizenship has been
conjectured to have been a portion of the decoration
of the Temple of Theseus. In that of the Dioscuri
(Castor and Pollux) he depicted 'The Story of the
Daughters of Leucippus.' But the works which
brought him the greatest renown were those repre-
senting scenes from the ' Iliad ' and ' Odyssey,'
which he painted in the Temple of Apollo at Delphi,
which Pausanias so admired six hundred years
after, and which have gone by the name of ' The
Iliad and Odyssey of Polygnotus.'
In the Poecile at Athens he painted also the
'Battle of Marathon.' In the foreground of the
picture the Greeks and Persians were represented
combating with equal valour; but in the middle
distance, the barbarians were seen flying to the
Phoenician ships, which were visible in the distance.
In this painting Polygnotus allowed himself all the
306
license of the Grecian poets. Minerva, the tutelary
goddess of the Athenians, and Hercules, are made
to descend from heaven ; the town of Marathon is
personified by a genius, and Theseus is drawn from
the shades of death to witness the battle. This
master was fond of compositions which admitted of
a great concourse of figures. It was probably the
taste of the period at which he lived, a taste which
did not long survive.
POLZONE, SciPio, a painter born at Gaeta in
1556. He studied at Naples, and then went to
Rome, where he gained some repute as a por-
trait painter. Among his portraits were those of
Gregory XIII., Sixtus V., and many of the Car-
dinals. He died at Rome in 1594.
POMARANCE, Ckistoforo dalle. See Eon-
CALLI.
POMARANCE, Niocol6 and Antonio, (or II
POMAEANCIO). See ClKCIGNANO.
POMAREDE, Silvio, was a native of Italy, who
flourished from 1736 to 1768, and engraved some
plates, which be marked with his initials. Among
them were four of the ' Triumphs ' of Petrarch, viz.
those of 'Time,' 'Fame,' ' Death,' and ' Religion,'
after Bonifazio Veneziano ; and some of the por-
traits of painters for the Florence Gallery. He
engraved also some plates for the ' Museo Capito-
lino,' and many of those for Ficoroni's ' Maschere
sceniche e Figure comiche d'antichi Eomani,' pub-
lished at Rome in 1736.
POMEDELLO, Giovanni Makia, who was a
goldsmith and medallist, besides painter and en-
graver, belonged to the school of Vittore Pisano,
and lived at Verona from 1519 to 1534. He
painted a ' Virgin before the Cross,' in the Church
of San Tomraaso in that city (1624), and there is
a pen-and-ink sketch by him of ' The Ruins of the
Coliseum,' in the Vienna Belvedere. Among his
engravings are ' Hercules strangling the Lion,'
and ' The Abduction of Deianeira.'
POMMAYRAC, Pierre Paul de, a miniature por-
trait painter, was born in 1818 at Porto Rico, of
French parents. He was a pupil of Gros, and also
studied miniature painting under Mme. Lizinska de
Mirbel. He died in 1880. Among his portrait
miniatures the following may be named :
Napoleon III.
The Empress Eugfinie.
The Prince Imperial.
General Troohu.
The Princesse Mathilda.
Queen Isabella of Spain.
Berlioz.
Isabey.
Cardinal Guibert {oil).
Mdlle. Chancy [oil).
POMMERENCKE, Heineich, was a successful
portrait painter of Mecklenburg-Schwerin. He was
born and brought up in poverty, but exercised his
talent for art so ably that he was enabled to pur-
sue his studies at Berlin. He went to Paris also,
and had the good fortune to paint the portrait of
Helena, Duchess of Orleans, by which he gained
the protection of the reigning Royal Family. After
the Revolution of 1848 he returned to Schwerin,
where he painted many excellent pictures for the
Grand Duke. He died in 1873.
POMPADOUR, Jeanne Antoinette Poisson,
Marchioness of, was born in Paris in 1721, and in
1741 married M. Le Normand d'fitiolea. In 1745
she became the mistress of Louis XV., who created
her Marchioness of Pompadour, and over whom
her influence was paramount until her death, which
Fonce-Camus
PMNTERS AND ENGRAVERS.
Ponte
took place at Versailles in 1764. She was one of
the most accomplished amateur etchers of the 18th
century. Having commissioned Jacques Guay to
engrave from tho designs of Vien and Boucher a
series of gems with symbolical and allegorical
subjects commemorative of the victories of Louis
XV., she etched them for distribution among her
friends. The original series consists of fifty-two
plates, entitled ' Suite d'Estampes gravees par
Madame la Marquise do Pompadour, d'apres les
pierres gravies de Guay,' and includes the por-
trait of Louis XV., and that of Madame de Pom-
padour as ' Minerve protectrice de la gravuro en
pierres precieuses.' To the collection was after-
wards added 'Les petits Buveurs de lait,' 'Le
petit Faiseur de boules de savon,' and ' La petite
Mendicante,' after the designs of Boucher, three
plates of ivories, and a frontispiece to an edition
of Corneille's tragedy of 'Rodogune,' which was
printed in 1759 in her apartments in the palace
of Versailles. This last was designed by Boucher,
• and the plate was retouched by C. N. Cochin. The
whole of the plates afterwards passed into the
hands of Basan, and were published in 1782, after
having been touched probably by Cochin. They
are fully described in Leturcq's 'Notice sur Jacques
Guay,' Paris, 1873.
PONCK-CAMUS, Maeie Nicolas, was born in
Paris in 1778. He was instructed by David, and
painted historical subjects, among which were
' Napoleon at Ostend ' in 1810 ; ' Napoleon and
Prince Charles,' 1812, now at Versailles ; ' Alex-
ander and Apelles,' and others. He died in 1839.
PONCE, Nicolas, a French engraver, was born
in Paris in 1746, and died there in 1831. He was a
pupil of M. Pierre, the painter, and of Fessard and
Delaunay, the engravers. His works are rather
numerous, as he was enployed on several of those
grand publications which do honour to the French
nation : such as ' Le Musde Iiaurent,' ' Le Cabinet
de Choiseul,' 'La Galerie du Palais Royal,' 'Les
Campagnes d'ltalie ; ' the folio edition of ' Racine,'
by Didot ; ' Les Illustres Franjais,' with fifty-six
plates ; ' Les Bains de Titus etde Livie,'in seventy-
five plates ; and ' La Guerre d'Am6rique,' conjointly
with Godefroy. He was the editor of the Bible
with 300 engravings after Marillier ; and dedicated
to Louis XVIII. the beautiful edition in quarto of
the ' Charter.' He also wrote and translated several
works relative to the arts. Besides the plates for
the above-mentioned works tho following may be
specially mentioned :
L' Enlevement nocturne ; after Matidouin. (His chef-
d'oeuvre.)
La Toilette ; after the same.
E^perboire des Spectacles de la Cour ; after Moreau.
Vignettes (44) to D'Ussieux's translation of Ariosto's
' Orlando Furioso,' 1775-83 ; after Coehin.
Vignettes to ' Adonis,' a poem by Frfiron and Colbert
d'Estouteville, 1775 ; after Eisen.
Vignettes to Billardon de Tauvigny's 'Parnasse des
Dames,' 1773 ; after Marillier.
Vignettes (4) to Bousseau's 'Pygmalion,' 1775; after
the same.
PONCE, RoQTJB, a Spanish landscape painter,
was a scholar of Juan de la Corte, at Madrid. He
flourished about the year 1690, and painted land-
scapes, which he embellished with suitable incidents.
In some of his pictures the figures are by Antonio
Castrejon, but those are most esteemed in which
the latter had no hand.
PONCHINO, Giovanni Battista, called II Boz-
ZATO Dl CASTELrKANUO, was born at Castelfranco
in 1500. He has also been called Bazzacco and
Brazzacco. He was a, disciple of Titian, and,
according to Lanzi, was a reputable painter of
history. His picture of 'Limbo,' in the church of
San Liberale, at Castelfranco, is an excellent work
of art. He also painted several altar-pieces for the
churches of Venice and Vioenza. He died in 1570.
According to Zani, he was a prelate with the title
of Monsignore.
POND, Arthur, an English painter and en-
graver, was born about 1705. He was educated in
London, and afterwards travelled to Rome in com-
pany with the sculptor Eoubilliac. He painted
portraits in oil and drew them in crayons, and -also
etched and engraved in the chalk and crayon
manner. By a combination of etching and aquatint
he produced plates in imitation of Salvator Rosa,
the Poussins, and others, and after these brought
out his ' Imitations of the Italian Masters ' (1734-5),
and, in conjunction with George Knapton, the col-
lection of ' Heads of Illustrious Persons,' engraved
by Houbraken and Vertue. They also engraved a
set of ninety plates from the drawings of the great
masters, in imitation of the originals, and a set of
twenty-five caricatures, after Cavaliere Ghezzi, and
other masters. He painted numerous portraits, in-
cluding those of the Duke of Cumberland, Alexander
Pope, and Peg Woffington (now in the National
Portrait Gallery) ; and he engraved after Raphael,
Parmigiano, and others. He was elected a Fellow
of the Royal Society and the Society of Antiquaries
in 1762, and died in 1758. He etched several por-
traits, in a style resembling that of Rembrandt,
among them the following :
His own Por ait.
Lord Bolingbroke.
Alexander Pope.
Dr. Mead.
Thomas Sadler, antiquary.
PONSE, JOMS, a painter of birds, fruit, and
flowers, was born at Dordrecht in 1723. He was
a scholar oif A. Schouman. He passed through
many vicissitudes, being at one time reduced to
gain a livelihood by house-painting. In middle
life he was established at Amsterdam, where he
had some pupils. His pictures are very scarce.
He died at Dordrecht in 1783.
■pONT, Dn. See Dn Pont.
PONTE, Da. The genealogy of the north Italian
family of 1)A Ponte, commonly called the Bassani,
is as follows :
Franeeiffio da Ponte,
died 1530.
Jacopo da Ponte.
B. 1510. D 1502.
Francesco.
1548— 16»1.
GiOL Battista.
1663—1613.
-t-
Leandro {Gav).
1558—1623.
Girolamo.
1560- 1622.
PONTE, Francesco da, the elder, was bom_ at
Vicenza about 1475. After receiving his technical
education at Venice he established himself at Bas-
sano, a sm ill town on the Brenta. If not an actual
pupil of Bellini he was at all events a follower of
his style. Among bis best works we may name a
' St. Bartholomew,' in the cathedral of Bassano,
an altar-piece, in the church of San Giovanni, and
a ' Descent of the Holy Ghost,' in the village church
of Oliero. Francesco died at Bassano in 1530.
PONTE, Francesco da, the younger, the son of
Jacopo da Ponte, was born 26th January, 1549, at
Bassano, and was educated in his father's studio.
He afterwards migrated to Venice, where he was
307
Ponte
A BIOGRAPHICAL DICTIONARY OF
Pontean
employed to paint a series of historical pictures in
the Doge's Palace. He also worked much for the
Venetian churches, and his pictures, though less
vigorous and rich in colour than those of his father,
are among the treasures of the Venetian School. He
was subject to hypochondriacal attacks, in one of
which he committed suicide by throwing himself,
from a window. This was on the 4th July, 1492.
Many of the pictures by Francesco which occur
in European galleries are assigned to his father,
Jacopo. Among those ascribed to himself we
may name the following in the Vienna Gallery :
St. Francis.
■ St.- Clara.
Boy with a Flute (signed Ffiiuo Bass, pec).
PONTE, Giovanni Battista da, the second son
of Jacopo da Ponte, was born at Bassano in 1653.
He was the least distinguished of the family, and
was chiefly known as a copyist of his father's works.
Many of his productions now figure, no doubt,
under Jaoopo's name. He died in 1613.
PONTE, GiROLAMO DA, the youngest of Jacopo's
sons, was born at Bassano in 1560. He also copied
his father's pictures, and like his brother Giambat-
tista, must take his share in the blame or credit
which attaches to their wide difEusion. He also
painted original works of his own, however, and
one of these, an ' Apparition of the Virgin to St.
Barbara,' is in existence at Bassano. Girolamo
died in 1622.
PONTE, Jacopo da, ' II Bassano ' par excellence,
was born in 1610, in the city from which he takes
his sobriquet. His training in art took place first
under his father Francesco, at Bassano, afterwards
at Venice in the studio of Bonifazio Veneziano.
His mature style, however, was mainly formed on
the example of Tritian. His earlier subjects were
of an ambitious class, such as ' Samson slaying
the Philistines,' the remains of which are still to be
seen on the outside of the Casa Michieli at Venice.
But this energy was not of long duration, and he
turned his attention mainly to portraits, and to
those Biblical scenes which lend themselves to a
genre treatment. Among his sitters were Sebas-
tiano Venerio, Doge of Venice, Tasso, Ariosto, and
other distinguished men. Jacopo had already ac-
quired a position at Venice when the death of his
father compelled him to return to Bassano, where
he chiefly resided for the rest of his life. The
family home was picturesquely placed on the river-
bank, and Jacopo was quickly led to devoting
most of his time to subjects which allowed him to
treat the scenes before his eyes, and the living
things by which they were peopled. The ' Entry
of the animals into the ark,' the ' History of Jacob,'
the ' Adoration of the Shepherds,' the ' Expulsion
of the Dealers from the Temple,' were painted by
him again and again. Jacopo's knowledge of the
nude and power of design were small, but his
brush was extraordinarily facile. With the help
of his sons, he produced an inexhaustible stream of
pictures, which, it is said, were put up to auction
at the neighbouring fairs when no buyer had been
secured beforehand. At one time he was invited
to the court of the Emperor Rodolph II., but he
refused to leave his beloved Bassano, where he
died in 1592. One of his best pictures is the ' Good
Samaritan,' in the National Gallery. We may also
name :
Bassano.
308
S. Gmseppe,
S. Maria
d. Grade.
The Nativity.
, > Baptism of Lucilla.
Dublin. Jfat. Gallery. Departure of Abraham {de-
posited, hy the Nat. Gallery of
Ijondon).
„ „ A Holy Family, with donors.
„ „ Visit of the Queen of Sheba to
Solomon.
Florence. Vjfid. His own Portrait.
„ „ The Ponte Family as musicians.
London. JVat. Gallery. Portrait of a Gentleman.
„ „ _ Christ clearing the Temple.
Milan. Amlrosiana. Adoration of the Shepherds.
„ „ A 'Eiposo.'
Naples. Museum. Kaising of Lazarus.
„ „ Holy Family.
Paris. Louvre. The Animals entering the Ark.
„ „ Moses striking the S^ck.
„ „ Marriage of Cana.
„ „ The Boad to Calvary.
„ ,, A ' Deposition.'
„ „ Vintage.
„ „ Portrait of Giovanni da Bo-
logna.
Venice. Academy. Virgin with SS. Joseph and
John.
Vicenza. Museum. A Deputation to the Virgin.
PONTE, Lbandeo da, the third son of Jacopo,
was born at Bassano in 1558. He was a pupil of
his father. His fame was won chiefly by his
portraits. He put the finishing touches to his
brother Francesco's pictures in the Ducal Palace
at Venice, and has left a vast number of canvasses,
many of which are ascribed to his father. Leandro
was created a Knight of the Order of St. Mark, by
the Doge Grimani. In the latter part of his life be '
lived in great state at Venice, where he died in
1623. Among his acknowledged works we may
name :
Dresden. Gallery. Christ healing the Blind.
„ „ The Entry of the Animals into
the Ark.
, , „ Christ bearing the Cross (signed
Leandek a Ponte Basso
EQVE3, p.)
„ „ Portraits of the Doge Cicogna
and his wife (hath signed).
„ „ Male portrait, said to be that
of the artist himself.
„ „ Shepherds and Sheep.
Dublin. Nat. Gallery. The Building of the Tower of
Babel.
„ „ Adoration of the Shepherds
{deposited by the Zondon Nat.
Galhry).
Madrid. Museum. Eight pictures.
Munich. Gallery. A ' Deposition.'
„ „ A Holy Conversation.
Vienna. Mehedere. The Adoration of the Magi.
„ „ Portrait of the Doge, Ant.
Priuli.
„ „ Portrait of Cardinal Dom.
Tqscu.
„ „ A Portrait Group.
„ „ Two Male Portraits. ^.A,
PONTE, Giovanni da Santo Stefano da, a
painter, was born at Florence in 1306. He was a
pupil of Buffalmacco, and painted portraits and
historical subjects. He worked at Florence and
Assisi. He died in 1365.
PONTE, OcTAVio DEL, a marine and dead game
painter of Utrecht. He was governor of the Hos-
pital of St. Job at Utrecht from 1639 to 1645. In
1638 he was master of the guild of St. Luke. He
died in 1645.
PONTE, Pedeo de. See Aponte.
PONTEAU, Michel, called II Pontiako, was
born at Liege about 1588. He was first instructed
by Bertin Hoyoux, but at an early age he went
to Italy, where he resided till his death in 1650.
He painted portraits and historical subjects. He
Pontons
PAINTERS AND ENaRAVERS.
Pope
painted a series of portraits of the Roman Emperors
on the windows of his house at Liege.
PONTONS, Pablo, a Spanish painter, was born
at Valencia in 1606. He was a scholar of Pedro
Orrente, and followed the style of his instructor,
who had been a scholar of Bassano. His colouring
bears the character of the Venetian school. There
are several of his works in the churches and con-
vents of his native city, of which the most import-
ant is a series of subjects from the life of San Pedro
Nolasco, in the church and cloisters of the convent
of La Merced. He also painted some altar-pieces
for the monastery of La Cartuja del Puche : and in
the church of Santa Maria de Morella, two pictures,
representing the Nativity, and the Adoration of the
Magi. He was also a reputable painter of portraits.
He died in 1670.
PONTORMO, Jacopo da. See Carrdcci.
PONZ, Antonio, a Spanish painter, born at
Bsxix in 1725. He was a pupil of Eichart at
Valencia, and then went in 1746 to Madrid, where
he studied for five years. He then went to Rome
for a short time, but soon returned to his own
country, where he was soon engaged in painting at
the Esourial. In 1771 he made a journey through
Spain. In 1776 he was appointed secretary of the
Academy of San Fernando. He was a member of
nearly every academy in the Peninsula. He made
some excellent copies after Raphael, Guide, and
Paolo Veronese. He also wrote ' Comentarios de la
Pintura,' and several other works. He died in 1792.
PONZ, MosEN Jayme, was born at Vails, near
Tarragona, and studied in the school of the Jun-
cosas at Barcelona. In 1722 he painted a number
of pictures for the Carthusians of Scala -Dei. In
1723 he painted some frescoes on the dome of
the Hermitage of Nuestra Senora de Misericordia,
without the walls of Reus. The parish church of
Vails had some frescoes by Ponz, and that of Alta-
fuUa one of ' St. Michael,' after Raphael.
PONZONE, Matteo, was born in Dalmatia, and
lived between 1630 and 1700. He was a scholar
of Santo Peranda, and, after acting for a time as
his master's assistant, became a painter of history
on his own account. Several of his works are in
the churches and public buildings of Venice, par-
ticularly in Santa Maria Maggiore, and in the
. church of the Padri Groceferi. A ' Holy Family '
by him, in the Houghton Gallery, was engraved
by Valentine Green.
POOL, Jubiabn, was born at Amsterdam in
1666. He distinguished himself as a portrait
painter, and passed the early part of his life at the
court of the Elector Palatine, by whom his works
were much esteemed. After the death of his patron
he returned to Holland, where he abandoned paint-
ing, and applied himself to mercantile pursuits.
He was the husband of Rachel Ruysoh, the cele-
brated painter of flowers and fruit. He died in
1745. His works are rare. There is a portrait
group of C. Bockelman, president of the Surgeons'
guild of Amsterdam, and his colleague, J. Six, in
the Rijks Museum of that city.
POOL, Matty, a Dutch engraver, was born at
Amsterdam about the year 1670. He was in-
structed in the art in Paris, and on his return to
Holland engraved several plates after various
masters, in a style resembling that of Bernard
Picart. The date of his death is not recorded, but
he engraved in 1727, as appears by a work pub-
lished in that year. Among others the following
prints are by him :
Portrait of Barend Graat, painter.
The Infancy of Jupiter ; after B. Graat.
Cupid taken in a Net by Time ; after Guercino.
A Bacchanalian subject ; after N. Poussin.
A set of twelve subjects ; fi'om designs hy Remirandt.
A set of 103 plates, entitled ' The Cabinet of the Art
of Sculpture,' by Frans van Bossuit ; from drawings
iy B. Graat.
Three burlesque representations of the Ceremonies
adopted by the Flemish painters at Borne ; from the
same.
POOL, Rachel. See Ruijsch.
POOLE, Paul Palconeh, an English historical
painter, born at Bristol in 1810. He was almost
entirely self-taught in art, but came to London
early, and first appeared at the Royal Academy
in 1830 with a picture of 'The Well, Naples.'
He attracted notice in 1843 by his picture of
' Solomon Eagle,' and in 1846 was elected an
Associate of the Academy, of which he did not,
however, become a full member till 1861. At the
Westminster Hall competition of 1847 he won a
prize of £300, and he was awarded a medal at the
Paris Universal Exhibition of 1855. His success
was chiefly due to the poetry of his conceptions,
but he was a fine colourist, and in his best works
contrived, with much skill, to conceal the weak-
ness of his drawing. He led a very retired life,
and died at Hampstead in 1879. Amongst his
chief works are :
The Farewell. 1837.
The Emigrant's Departure. 1838.
The Surrender of Syon House. 1846.
Job receiving the news of his disasters. 1847.
The Goths in Italy. 1851.
The Laaguer of Valencia,
The May Queen. 1852.
The Songs of the Troubadours. 1854.
Philomena's Song. 1855.
Escape of Glaucus and lone. 1860.
A Border Eaid. 1868.
Eemorse. {Royal Academy, London.)
Two Children at a Stile. {Bridgewater Gallery, London.)
The Lion in the Path. 1873.
Ezekiel's Vision. 1875. {National Gallery, London.)
The Death of Cordelia. (South Kensington Museum.)
POORT. See Van dee Pooet.
POORTEN. See Van deb Pooeten.
POORTER, Willem de. See Da Poorteb.
POOST, Peans. See Post.
POPE, Alexander, younger brother of Somer-
ville Stevens Pope, was well known for his per-
formances in the characters of Othello, Henry
VIIL, &c. He was born at Cork, and was a
student of the Dublin Art School under West.
In 1783 he came to London, and made his first
appearance in Covent Garden Theatre. He ex-
hibited at the Academy from 1790 to 1821. He
died in London in 1835. He painted a portrait of
Michael Bryan, the first compiler of this Diction-
ary, which was engraved as a frontispiece for the
original quarto edition.
POPE, Alexander, the English poet, born in
London in 1688, died at Twickenham in 1744,
deserves mention as an amateur painter. He
studied under Jervas for eighteen months, and
frequently worked very assiduously at art, making
many copies of portraits. Lord Mansfield has a
specimen of his work as a copyist.
POPE, Claea Maria, an English painter of por-
traits, miniatures, and flowers, born about the
middle of the 18th century. She was the daughter
of Jared Leigh, an amateur artist, and married
first Francis Wheatley, and subsequently Alexander
Pope, the miniature painter. Her works frequently
309
Pop©
A BIOGRAPHICAL DICTIONARY OF
Porta
appeared at the Academy from 1796, and her flower
pictures were in good repute. She painted the
portrait of Mine. Catalani. She died in 1838.
POPE, SoMERViLLE Stevens, an amateur minia-
ture painter, was born in Ireland in the first half
of the 18th century. His chief instructors were
his father and Thomas Roberts. He is chiefly
known as a copyist of Vernet. He became High
Sheriff of Dublin, and afterwards worked at art
as. an amateur.
POPELS, Jean, was born at Tournay about the
year 1630. He engraved some plates from the
copies in the gallery of the Archduke Leopold at
Brussels, for the collection of prints called 'The
Cabinet of Teniers ' ; among them the following :
Hagar aud Ishmael ; after Titian.
St. George and St. Stephen ; after Giovanni Bellini.
St. John the Baptist and St. Roch ; after Palma Vecchio.
The Virgin and Infant Christ, with St. John and St.
Catharine ; after Pahna Giovine.
A Dead Christ, supported by Joseph of Arimathea;
aftei' Schiavone.
The Triumph of Bacchus ; after Eutens.
At Gottingen there is a picture by this artist of
' The Deliverance of Andromeda.'
POPMA, Alabdo de, was a Spanish engraver,
who worked at Madrid in the early years of the
17th century. He executed a fine title-page for
the 'Ilistoria de las Ordenes Militares de Santiago,
Calatrava y Alcantara' (Madrid, 1629); also one
for Navarrete's ' Conservaoion de las Monarquias
y Disoursos politioos' (Madrid, 1626).
POPOLI, GlAClNTO de', an Italian painter, born
at Orta. He was a pupil of Massimo Stanzioni,
and painted mostly in churches. He died in 1682.
POPP, Heinkioh, a German painter, born at
Nuremberg in 1637. He was a pupil of Reisler,
and painted portraits and historical subjects. He
died in 1682.
POPPI, II. See Mobandini, Francesco.
PORBUS. See Pockbus.
PORCELIUS. See Pokzel.
POKCELLI, Antonio, an Italian painter of the
present century, born in 1800. He painted both
landscape and figures. Among his best pictures
may be named the ' Pontana dell' Aoqua Autosa,'
the ' Pine Forests of Ravenna,' and the ' Cobbler's
Monday.' The last is in the Collection of the
Czar. Porcelh died in 1870.
PORGELLIS (or Porcelles). See Paecelles.
PORCELLO, Giovanni, a little-known painter
of Messina. He studied under Solimena.
PORCIA, Francesco di, a painter of Friuli, who
flourished about 1606. His surname is believed
to have been Apollodobo. He worked chiefly at
portraits.
PORDENONE. See Licinio.
PORETTANO, Pier-Mabia, an obscure Bolog-
nese, who lived and painted about 1600. He was
a pupil of Lod. Carracci.
PORIDEO, Geegorio, a forgotten pupil of Titian,
whose name was signed, says Lanzi, on a little
oblong picture formerly in the Casa Pisani, at
Venice.
PORLETTI, Carlo. See Portelli.
PORPORA, Paolo, a Neapolitan painter, was a
pupil of Falcone, and a member of the Academy
of St. Luke in the year 1656. He excelled chiefly
in battle scenes, animals, and in such still-life as
shells, dead fish, flowers and fruit. He died about
1680.
PORPORATI, Cablo Antonio, an engraver and
painter, was born at Volvera, near Turin, in 1741,
310
He went to Paris when he was young, and be-
came a pupil of Chevillet and of Beauvarlet. In
1773 he was made a member of the Academy
at Paris, and engraved for his reception plate
' Susannah at the Bath,' after Santerre. In the
same year he was admitted to membership of the
Turin Academy, and in 1797 appointed conservator
of the gallery there. In 1793, commissioned by
the king, he founded at Naples a school of engrav-
ing, and spent in that city the four years previous to
his last-mentioned appointment. He died at Turin
in 1816. He painted some good portraits, but
engraving was his forte. The following prints are
by him, some of which are executed in a finished
and beautiful style :
Susannah at the Bath ; after Santerre. (His chef-
d'ceuvre.)
Abraham sending away Hagar ; after Philip van Di/k.
Tancred and Clorinda ; after Carle van Loo.
Le Ooucher ; after the same.
Erminia asking shelter of a Shepherd ; after the same.
Cupid in Meditation ; after Angelica Kaufmann,
The Death of Abel; after A. van der Werjf.
Venus caressing Cupid ; after Pampeo Batoni.
Jupiter aud Leda ; after Correggio.
The Madonna with the Babbit ; after the same.
Leda and the Swan ; after the same.
Leda bathing ; after the same.
La Zingarella ; after the same.
The young Girl with a Dog ; after Greuze.
Portrait of Charles Emmanuel III.
Portrait of Queen Marie Antoinette.
Portrait of the Empress Marie Louise.
The following plates were engraved by liim in
mezzotint :
Paris and (Enone '. after Van der Werff.
The Compassionate Priestess ; after Gibelin.
PORRI, Daniello, (or Daniele,) called also De
PoB, De Pobb, De Poebo, and Da Parma, a por-
trait and historical painter, was born at Parma in
the early years of the 16th century. His family
was Milanese by origin. He worked under both
Correggio and Parmigiano, and afterwards in col-
laboration with Taddeo Zucchero in the church of
Santa Maria d'Alvito. Of their combined work
nothing remains but a single ' Holy Conversation,'
in which the Madonna is seated with the child
between St. Francis and St. Nicholas of Bari.
Porri died at home in 1566.
PORRO, Gibolamo, an Italian engraver on wood
and on copper, was born at Padua about the year
1520, but worked during the greater part of his
life at Venice. He engraved in a tasteful and
delicate style the vignettes, amounting to nearly
one hundred, for a book entitled ' Imprese illustri
di diversi,' published by Camillo Camilli in 1535.
He also executed the plates for the 'Orlando
Furioso ' of Ariosto, published at Venice in 1548 ;
for the ' Funerali antichi di diversi Popoli et
Nationi,' by Tommaso Porcacchi, published in
1574 ; and the portraits for the ' Sommario delle
Vite de' Duchi di Milano,' by Scipione Barbae,
1574. The maps in Ruscelli's translation of the
' Geographia' of Ptolemy, 1574, and the views in
Porcacchi's 'Isole piii famose del Hondo,' 1575,
are likewise by him. After this there is no account
of Porro ; but Zani says he was working in 1604.
PORRO, Maso, a native of Cortona, and painter
on glass, who was active shortly before 1568.
PORTA, Andrea, a Milanese painter, born in
1656. Orlandi mentions him as still alive in 1718.
PORTA, B. DELLA. See Babtolommeo di Fas-
Porta
PAINTERS AND ENGRAVERS.
Porter
PORTA, Ferdinandp, a painter of Milan, born
1689, died about 1767. He was an industrious
imitator of Correggio.
PORTA, Giuseppe, called Salviati, was born
at Castel Nuovo, in the Grafagnana, in 1520 or
1518. He was sent to Rome when he was young,
and placed in the school of Francesco Salviati
(Rossi), whose character of design he followed,
and acquired the name of 'the younger Salviati,'
by whicli he is more generally known than his
own. When his instructor was invited to Venice
he was accompanied by his pupil, whose works
were sufficiently admired in that capital to induce
hira to establish himself there. He was employed
by the senate, in conjunction with some of the
most distinguished artists of his time, in ornament-
ing the palace and library of St. Mark, where he
painted ' The Sibyls, fhe Prophets, and the Cardi-
nal Virtues ' ; and for the chapel, the ' Dead Christ
with the Marys.' From 1541 to 1562 he worked at
Padua, painting in particular a series of ' Scenes
from the Life of John the Baptist,' in the Selvatico
Palace.. His reputation reached Rome, whither in
1663i'he was invited by Pius IV. Here he was
employed in the Sala Regia, and painted the
' Emperor Frederick I. doing homage to Alexander
III.' Having finished these and other works for
that pontiff, for which he was munificently re-
warded, he returned in 1565 to Venice, where he
painted several pictures for the churches and public
edifices, particularly a 'Purification,' for the Church
of the Padri Servi ; and the ' Annunciation,' in
the chapel of the Incurabili. In the Church Degli
Angeli, at Murano, is one of his best works, a
' Descent from the Cross, with the Virgin, Mary
Magdalene, and St. John.' The date of his death
is uncertain, but it probably occurred between
1570 and 1585.
Papillon mentions Porta as an excellent en-
graver on wood. That writer asserts that he had
seen, in the possession of M. Villayer, at Paris,
about a, dozen woodcuts by him, representing
'Prophets and Sibyls,' and a print of ' Cupid and-
Psyche.' He himself possessed a print of the
' Crucifixion, witli the Virgin, Mary Magdalene, and
St. John,' signed Giuseppe Salviati ; and another
representing the ' Academy of Arts and Sciences,'
signed Joseph Porta Grafagninus. Others are the
title-page to the ' Sorti' of Marcolini (1540) and a
'Lucretia.' Zani, however, is of opinion, in spite
of the above inscription, that though designed
by Porta, they are executed by an anonymous
hand.
PORTA, Oka-zio, a native of Monte S. Savino,
who was painting in 1568.
PORTAIL, Jacqdbs AndbiS, a French fruit and
flower painter. In 1742 he was appointed custodian
of the king's pictures, and in 1746 he was admitted
to tlie Academy. He died in 1759.
PORTANA. See Lopez t Portana.
PORTE, H. H. R. DB LA. See Rolland de la
Porte.
PORTELLI, Carlo, (or Portegli), an Italian
painter, and native of Loro, in the Valdarno. He
was a pupil of Ridolfo del Ghirlandajo. Vasari
speaks of him as ah artist of ability, fie painted
several pictures for the churches of Florence,
especially for Santa Maria Maggiore. On October
15th, 1674, one Carlo di Galeotto Partelli da Loro
was buried in San Pancrazio.
PORTENGEN, Pierre, a painter of Utrecht, and
scholar of Paul Moreelse, flourished about 1638.
He painted landscapes in the manner of Jan Both,
but in handling is very inferior to that master.
PORTER, Sir Robert Ker, was born at Durham
in 1777, and passed his boyhood in Edinburgh,
whither his mother had moved on the death of
her husband, an officer in the army. Here he made
the acquaintance of the famous Flora Macdonald.
In consequence of his admiration for a battle-piece
in that lady's possession, representing some action
in the affair of '45, which she explained to him
in animated language, he determined on becoming
himself a painter of battles. This occurred when
he was only nine or ten years old. From this time
he was continually sketching similar subjects, which
induced his mother in 1790 to take him to West,
the President of the Royal Academy, who, struck
with the spirit of his sketches, immediately pro-
cured him admission as a student. His progress
was rapid, and in 1793 he was commissioned to
paint an altar-piece for Slioreditch Church. In the
following year he painted a picture of ' Clirist
allaying the Storm,' which he presented to the
Roman Catholic chapel at Portsea ; and in 1798
' St. John preaching,' for St. John's College at
Cambridge. These pictures showed wonderful
precocity ; but in 1800 he astonished the public by
the exhibition of ' The Storming of Seringapatam,'
a picture 120 feet in length, representing with
much animation the details of an exploit never
surpassed in its way. It is said that he was only
ten weeks employed on the work. Unfortunately
this picture was destroyed by fire, but the sketches
exist, and the engravings by Vendramini preserve
some_ evidence of its merits. He painted several
other fights, among which are the ' Battle of Agin-
oourt,' for the city of London ; the ' Battle of
Alexandria,' and the ' Death of Sir Ralph Aber-
crombie.' In 1804 he went to Russia, and was
appointed historical painter to the emperor. He
then travelled in Finland and Sweden, where the
king knighted him. In 1808 he accompanied Sir
John Moore to the Peninsula, and attended that hero
to his end at the Battle of Corunna. After this he
paid a second visit to Russia, where he married the
Princess Mary, the daughter of Prince Theodore de
Schertkoff. After his return to England he pub-
lished, in 1813, an 'Account of the Russian Cam-
paign,' and was re-knighled, by the Prince Regent,
in the same year. In the course of 1817-20 he
travelled in the East, where he made numerous
sketches, which are now in the British Museum.
He afterwards published an account of his travels
in Georgia, Persia, America, Ancient Babylon, and
other places, with numerous engravings of por-
traits, costumes, and antiquities. In this work are
excellent designs, in outline, from the fine charac-
teristic sculptures of Nakshi Roustan, Nakshi
Rajab, Shiraz, and Persepolis. The book is ex-
tremely valuable, as in many cases it corrects the
statements of preceding travellers. Being in 1826
appointed British consul at Venezuela, he resided
at Caracas until 1841, and continued to employ his
pencil. He painted while there three pictures of
sacred subjects : ' Christ instituting the Eucharist,'
' Christ blessing a little Child,' and an ' Ecce Homo.'
He also painted the portrait of Bolivar. In 1841
he paid his last visit to St. Petersburg, where
the cold proved too intense for his constitution,
after being inured to the warmth of Venezuela.
He was preparing for his return to England when
he was struck by a fit of apoplexy, and expired on
the 2nd of May, 1842.
311
Portio
A BIOGRAPHICAL DICTIONARY OF
Pothoven
PORTIO, Aniello, was an engraver, who worked
at Naples from 1690 to 1700. His name is affixed
to a few portraits and other plates for books.
PORTO, Giovanni Battista del. See Del
POETO.
PORTUGAL, — , according to Strutt, was the
engraver of a small upright plate, representing a
female figure weeping, and pouring water from
a cup.
PORZEL, Elias, (or Poecelios,) a German en-
graver on wood, was born at Isny, in Swabia, in
1C62. He was a pupil of Jakob Enderlein, and
about 1682 was working in Switzerland, after
which he travelled in Italy, and finally settled at
Nuremberg, where he died in 1722. He executed
several plates for Enderlein's ' Picture Bible,' after
designs by Sandrart.
POSADAS, Miguel, a Spanish painter, was born
in Aragon in 1711. He was a Dominican monk
living at Valencia, and painted historical pictures.
He died in 1753'.
POSCH, Laubenz, a Swedish portrait painter,
was born in 1733, and died in 1786. At Stockholm
there is a portrait by him of Gustavus IV. as a
child, in uniform.
POSE, Eduaed Wilhelm, was born at Diisseldorf
in 1812. He entered the Academy at Diisseldorf,
where after studying for some time he went with
And. Achenbach to Munich, and in 1836 to Frank-
fort, whence he visited Italy. He painted land-
scapes and figure pictures of a serious cast. His
care for details was great. He died in 1878.
Among his works wo may name :
Castle Eltz. {Stadel M. FranlcfoH.)
Castle iu Tyrol. (Kintj of the Belgians.)
The Konigssee. (Ch-ancl Duke of Hesse.)
The Falls at Tivoli. (H. Hauck, Frankfort.)
The Theatre at Taorraina. {FraLfue Gallert/.)
The Temples of Psestum. {Heydt collection, Elberfeld.)
The Homburg Forest.
POSSENTI, Benedetto, was, according to Mal-
vasia, a native of Bologna, and was brought up in
the school of the Carracci. He excelled in painting
landscapes, seaports, embarkations, fairs, festivals,
and battle-pieces.
POSSENTI, Giovanni Pieteo, the son and
scholar of Benedetto Possenti, was born at Bologna
in 1618. He painted battles and attacks of cavalry,
in which he not only sui-passed his father, but was
regarded as one of the ablest painters of Iris time
in that genre. His talents were not confined to
such subjects, and he acquired some reputation by
altar-pieces for the churches at Bologna and Padua.
One of his best productions is a picture in the
church of San Lorenzo, in the latter citj', repre-
senting the martyrdom of that saint. Possenti died
in 1669.
POST, Frans, (or Poost,) was bom at Haarlem
about the year 1612. He was the son of Jan
Post, a glass-stainer of some celebrity, who died
while he was still young. It is not known how
Frans was taught, but before he was twenty years of
age he discovered suffiiient ability to recommend
him to the protection of Count Maurice of Nassau-
Siegen, who took him into his service, and he
accompanied that prince in the voyage he under-
took to the West Indies and South America.
During a residence of two years, he made
numerous drawings of the most interesting views
in these countries, from which, on his return to
Plolland, he painted several large pictures for the
palace of Byksdorp, near Wassenaer. He died at
312
Haarlem, and was buried there on the 16th February
1680. Among his works we may name :
Portrait of Count Maurice of KTassan-Siegen. (Amster-
dam Museum.)
View in Brazil. {The same.)
View of a Native Village in Brazil. (Uampton Court.)
There are also several etchings by him, among
which are the following :
A set of Views in Brazil ; from designs made Im himself
A View of the Gulf of AU Saints ; Fr. Poost fee. 1645'.
A View of Cape St. Augustine ; the same inscription.
A View of the Isle of Thamaraca ; the same,
POST, Kael Bobeomads, an engraver, was born
at Prague in 1834. He studied at the Academy at
Prague in 1852 under Haushofer, and at Vienna in
1853 under Stober. He engraved after Marko,
Achenbach, and Pausinger landscapes and animal
pieces. He was custodian of the Emperor's private
library at Vienna, where he died iu 1877.
POSTL, Kael, a painter and etcher, who was
a teacher of landscape painting at the Prague
Academy, and painted panoramas, &c., was burn
in 1768, and died after 1815.
POT, Hendeik Geeeitsz, was born at Haarlem
in 1600. It is not known under whom he studied,
but it is supposed that he received some instruction
from Frans Hals. He died in 1656. Houbraken
praises a picture by this master, representing
' Judith with the Head of Holofernes ; ' and men-
tions in very favourable terms a large picture of a
' Triumphal Car of one of the Princes of Orange,'
which is now in the gallery at Haarlem as the
' Apotheosis of William the Silent.' The frame is
the work of a well-known sculptor, Dom. Janss.
Pot was also a distinguished portrait painter, of
which he has given proof in a large picture in the
Hall of the Archers, at Haarlem, in which he has
represented the principal ofiScers of that society.
At Hampton Court there is a curious picture by
him called 'A Startling Introduction.' It seems
to represent Charles I. making his court to a lady
into whose room he has made his way by the
chimney. Various explanations have been offered
of it, but none quite satisfactory. In the Louvre
there is a portrait of Charles I. by Pot. It is
signed and dated UP. FESIT., 1632, but was
nevertheless ascribed formerly to a mythical N.
Conning.
POTENZANO, Feancesco, painter, poet, and
improvisatore, called ' The Great,' was a native of
Palermo. He travelled to Rome, Naples, Malta, and
through a large part of Spain. He died in 1599.
POTERLBT, a French painter, born at Epernay
in 1802. He was a pupil of Hersent and a student
of the Flemish School. He painted historical and
still-life subjects, but devoted most of his time to
making sketches from the most remarkable pictures
in European collections. He died in Paris in 1835.
The Louvre possesses a ' Dispute of Trissotin and
Vadius,' from the 'Femmes Savantes,' by him.
POTPIEUCK, Jan, was a member of a Protestant
family, which left Verviers and settled at Leyden
at the beginning of the 17th century. Born in
1626, he was admitted in 1652 into the Guild of
St. Luke at Leyden, of which he became the head.
He died in 1 669. His portraits of the ' Four Regents
of the Pesthuis,' in the Leyden Museum, is perhaps
his best work. (^S'ee Obreen's 'ArchiefvoorNeder-
landsche Kunstgeschiedenis.' )
POTHOVEN, Hendeik, was born at Amsterdam
in 1725, and was a scholar of Philip van Dyk.
Potlepel
PAINTERS AND ENGRAVEES.
Potter
He painted portraits and cabinet pictures in the
raanner of his master. He imitated satin, velvet,
lace, and carpets very successfully, and the other
accessories which he introduced in his small family
pictures. It is said that as late as 1791 he painted
the portrait of Professor David Ruhnkenius. He
also engraved, in mezzotint, an ' Old Man reading
a Book by the light of a Candle ; ' and, if Balkema
is correct, many other plates. He died about 1795.
POTLEPEL. See Jordaens, Jan.
POTMA, Jacob, was born at Workum, in Fries-
land, about the year 1610, and was a scholar of
Wybrandt de Gheest. He painted history and por-
traits, but was most successful in the latter. The
greater part of his life was passed at the dififerent
courts in Germany, where he was much employed
as a portrait painter. He died at Vienna in 1684.
POTRELLB, Jean Louis, a French engraver,
was born in Paris in 1788, and was a scholar of
David, Tardieu, and Desnoyers. He gave early
proof of his talents, and in 1806 obtained the
second grand prize for engraving. He exhibited
for the last time at the Salon of 1824, and died
probably about that date. He has produced
several plates of subjects by the Italian masters,
and also of portraits of distinguished persons.
Among them are :
Portrait of Giulio Bomano ; after himself.
Portrait of Michelangelo,
Louis XVIII. ; after Gerard.
Cupids ; after the same.
Portraits of Raphael and N. Poussin.
Portrait of David; after Aavet.
Prince Schwartzenberg ; after Gerard,
Cupid and Pysohe ; after David.
Portrait of Dr. Dubois.
The Coarse of Love, in six plates ; afier Gerard.
POTT, JOHN, is said to have been a mezzotint
engraver, who practised in London towards the end
of the 18th century. There is a good plate of
Lady Charles Spencer after Sir Joshua Reynolds,
which bears his name, but as it is very similar
to that by Finlayson, Mr. Chaloner Smith sug-
gests that it may be a retouched plate,' and that
the engraver's name may be fictitious. This sus-
picion is strengthened by the fact that the name
of Pond has been found substituted for that of
Benjamin Green upon later impressions of that
engraver's plate of Miss Baldwin after Kettle.
POTTER, Paulus, was born at Bnkhuizen on
Nov. 20, 1625. In 1631 Pieter Potter, his father,
left Enkhuizen and settled at Amsterdam, where
he bought the right of citizenship. He seems to
have instructed his son, though the latter is
supposed to have also studied at Haarlem under
Jacob de Wet the elder. To 1643 belongs his first
signed picture, called ' The Herdsman.' It was to
a constant study of nature that Potter chiefly owed
his success, and he devoted himself especially to
the study of animals. In 1646 Paul Potter went
to Delft, where he was received as a member of
the Corporation of S. Luke. There he seems to
have studied to the utmost of his power, and in
1647 he produced ' The Young Bull.' In 1649 he
removed to the Hague, as appears from the registers
of that town. There his pictures were so much
sought after, that he could with difiiculty keep
pace with the demand. In 1650 he married
Adriana Balcheneynde, the daughter of an archi-
tect in the Hague. To this period belong
' Orpheus,' and the ' Shepherds and their Flocks.'
In 1652, having cause, it is said, to mistrust the
fidelity of his wife, he suddenly left the Hague and
returned to Amsterdam. Th!s and the following
year saw the production of many famous works,
but his unremitting attention to his art exhausted
a constitution naturally weak, and he died in 1654,
in the twenty-ninth year of his age. As an artist
Paul Potter by no means deserves the universal
fame he has won. But as a sincere and patient
student of nature few men can be placed before
him. The best collection of his works is that in
the Hermitage, at St. Petersburg. But his art at
its best is to be seen in a picture in the Peel Col-
lection, in the National Gallery. He seldom painted
on a large scale, but his Bull, more famous than fine,
is almost life-size, and in the Six Collection there is
an equestrian portrait of Tulp on the same scale.
Among his principal pictures are the following ;
The Shepherd's Hut.
The Bear Hunt.
Eight Shepherds and their
Flocks.
Orpheus and his Lute. 1650.
The Straw-cutters.
t Horses in a Field.
Cows in a Field.
Equestrian portrait of Tulp.
Dairy Maid washing her Milk
Pails.
The Wood and Hunters at the
Hague. 1652.
i Landscape and Cows. 1644.
Landscape and Cattle. 1648.
Figures and Cattle.
Cows.
Forest and Hunters. 1652. (An
inferior repetition of the pic-
ture at Berlin.)
Cattle at Pasture. 1652.
Cattle, Sheep, and a Horse.
1652.
Sheep in a Field.
The Young Bull. 1647.
Meadows and Cattle (oxen and
swine). 1652.
A Small Example.
A Country Scene, representing
two Cows and a young Bull
in a Pasture.
The Halt.
Cows in a Field.
Landscape with Cattle. 1651.
The old Urey Hunter.
> Cows and Sheep.
Amsterdam. Museum.
I
Trippenliuis.
n
1,
Van der Hoop
Museum.
Six. Coll,
J)
»
Berlin.
Boyal Museum.
Cassel.
WilhelmshBhe
Gallery.
»
»
Copenhagen. Gallery.
Dresden, Gallery.
Gotha. Gallery.
Hague. Royal Museum.
„ Steengracht Coll.
London. JBuckingham
Palace.
„ Nat. Gallery.
'» " .
„ Wtstmmster,
Duke of.
Munich. Pinakothek.
Paris. Louvre.
Eome. Sorghese Palace.
Petersburg. Hermitage.
Turin.
Vienna.
Pinacoteca.
Gallery.
Landscape with Cattle.
Animals in a Landscape (three
oxen and three sheep). 1652.
The Field.
A Grey Horse.
Cattle under Trees.
Landscape and Cattle.
Dog and Kennel. 1650.
Landscape. 1650.
Cows. 1651.
The Life of a Huntsman {in
fourteen compartments).
Huntsmen Halting. 1650.
The Cow. 1649. With cows,
horses, a<ises, sheep, hens, a
cat and a dog, and human
figures.
A Bull in a Meadow.
The Stable Boy.
Cattle in a Landscape.
Landscape and Cattle. 1647.
Field and Cattle.
The works of this artist have been engraved by
Bartolozzi, Le Bas, Danckerts, Vissoher, Huygens,
Couchd, Zeeland, and others. We have some
313
Potter
A BIOGRAPHICAL DICTIONARY OF
Pourbus
charming etchings by Potter, drawn with great
spirit and correctness, and executed in a very
masterly style ; they are as follows :
A set of eight plates of Cows, Oxen, and other animals,
with a Bull on the title ; Paulus Potter, f.
A set of five plates of Horses ; the same inscription,
A Mountainous Landscape, with cattle and a herdsman ;
Paulus Potter, in et f. 1649.
A Landscape, with a shepherd playing on a pipe, and a
flock of sheep and goats.
BIBLIOGRAPHY.
' Paulus Potter, Sa Vie et ses CEuvres,' par I. van West-
rheene. La Haye. 1867.
' Journal des Beaux Arts.' 1S70.
' Kunstkronik,' II. xiv.
'Eau-fortes de Paul Potter,' Texte par Georges Gratat
Duplessis. Paris.
POTTER, PiBTBB, was born at Enkhuizen in
1587, and died about 1655, at Amsterdam. He
painted landscapes, soldiers, animals, and still-life,
and at first betrayed the influence of F. Hals, after-
wards of Rembrandt. Little is known of this artist.
He painted a series of landscapes, with figures,
which, if we may judge from the prints engraved
from them by Peter Nolpe, .must have possessed
considerable merit. They represent the ' Four
Seasons ' and the ' Four Elements,' the ' Prophet
Blias speaking to the Woman of Sarepta,' and ' St.
Paul the Hermit nourished in the Desert by an
Eagle.' Among his better pictures we may also
note:
Amsterdam. Museum. Strawcufcters.
Berlin. Museum. Still Lite. (P. Potter, 1636.)
Copenhagen. Gallery. Players at Tric-trac (P.
POITEK, 1629.)
London. Ufat. Gallery. Stag Hunt. (P. Pottbk, 165-.)
POTTEY, Jan, a Dutch portrait and historical
painter, born at Haarlem in 1615. In 1641 he
came to England, but seems to have returned to
Haarlem in the following year. He was also an
engraver, and one plate by him is known.
POTTGIESSER, Johann Wilhelm, probably a
son and pupil of Dietrich Pottgiessee, was
working at Cologne in the second half of the
17th century, being in 1656 upon the Guild, and
in 1683 a town councillor. There remain by him :
A young "Woman handing an Orange to her Child.
(j. J. Merlo's, Cologne.)
Alexander's Visit to Diogenes. {Leuchtenlerg Gallery.)
Hagar ; after Post. ( Wallraf Museum.)
The Finding of the Cross. {Fonnerly in the Dominican
Church, Cologne.)
POTUIL, Henbi, was a painter who, it is said,
imitated Gerard Dou with much skill. Only one
picture, however, is recorded as by him, and that in
the catalogue of Hoet and Terwesten, who say it
represents an animated ' Conversation of Peasants.'
POUGENS, Maeie Charles Joseph db, a French
jiainter, was born in Paris in 1755. He was chiefly
devoted to literature and philology, and was a
member of the Academic des Inscriptions et Belles
Lettres. In 1784 he published Recreation de
Philosophie et de Morale, and, in 1821-5, ArcM-
ologie Frangaise. He died in 1 833.
POULLEAU, — , a French engraver, was born
in Paris in 1749. He engraved several plates of
ruins and architecture, among which are the
following :
Euins of a Temple ; after De Machy.
A View of the Interior of the Church of the Magdalene,
at Ville I'EvSque ; after Contau d'lvry.
POUNCY, B. T., an English engraver, flourished
in the latter part of the 18th century. He was the
brother-in-law of Woollett, by whom he was taught.
Antiquarian work first engaged his attention, but
he subsequently devoted himself to landscape, in
which he produced some excellent plates. He
exhibited at the Royal Academy from 1782 to
1789, and died in Lambeth in 1799.
POURBUS, Frans, the elder, (or Poerbusse,)
the son of Pieter Pourbus, was born at Bruges
in 1545, and was first instructed by his father,
but he afterwards had the advantage of study-
ing under Frans Floris. He painted history,
landscapes, and animals, and was one of the most
distinguished portrait painters of his time. There
are several of his works in the churches at Antwerp,
where he chiefly resided, and where he was received
into the Academy in 1564. In the cathedral is an
altar-piece representing the ' Circumcision,' witli
two shutters, on which he painted the portraits of
the donors of the picture. One of his most esteemed
works is the ' Adoration of the Magi,' in the churcli
of the convent at Oudenarde. He died at Antwerp
in 1581. His widow married the painter Hans
Jordaens. There are portraits by him in various
private collections in . England ; particularly at
Castle Howard and at Luton. Other works by
him are as under;
St. Aloysius preaching.
General in Armour.
Three Portraits.
Male Portrait. 1575.
St. Matthew inspired by the
Angel. 1573.
Male portrait.
Christ on the Cross.
The Last St'ipper
Isaiah and Ezekiel.
Twenty small pictures from the
Lives of Christ and the Virgin.
Portraits.
Four Portraits.
POURBUS, Frans, the younger, was bom at
Antwerp in 1569, and was the son of Frans
Pourbus the elder. As to who his instructor was
is unknown, but in 1591 he became a master in the
Guild of St. Luke. In 1600 he was employed by
the Archduke Albert at Brussels, where he resided
for some time before undertaking a journey into
Italy. From Italy he went to Paris, where he
resided for the remainder of his life. In 1611 he
was appointed painter to Marie de' Medici. He
was also painter to the Duke of Mantua, and ac-
companied Eleanor of Mantua, sister of Marie de'
Medici, in her progress through France. In 1609
he left the court of Mantua, and died in Paris in
1622.
PICTURES.
Antwerp. Academy.
Augsburg. Gallery.
Berlin. Museum.
Brunswick. Gallery.
Brussels. Museum.
Ghent.
Petersburg. Hermitage.
Vienna. Belvedere.
Darmstadt.
Gallery.
A Man's Portrait.
London. Hamp. Court.
Marie de' Medici.
»
»
Henry IV. (signed and dated F.
P. Faciebat, 1610, the year of
Henry's death).
Madrid.
Gallery.
Portrait of Marie de' Medici.
)»
„
Portrait of Anne of Austria.
>»
Another Female Portrait.
Munich.
Gallery.
Two Portraits.
Paris.
Louvre.
The Last Supper.
»
»
St. Francis receiving the Stig-
mata.
jj
»
Two Portraits of Henry IV.
))
Portrait of Marie de' Medici.
»)
„
Portrait of Gillaume de Vajr.
The Hague.
Museum.
Moses presenting the Tables of
the Law to the Israelites (many
of the figures ace portraits of
the van Panhuys and van Bick-
lenberg families).
Pourbus
PAINTERS AND ENGRAVERS.
Poussin
The Hagae. Museum. A Ball at the Court of Albert
and Isabella (with many por-
traits).
Vienna. Liechtenstein 1 -n 4. -t. c -rrr
Collection. / Portrait of a Woman.
POUKBUS, PiETER, (or Poerbusse,) the younger,
was born at Gouda about 1510. He came early to
Bruges, where he probably studied under Lancelot
Bloudeel, whose daughter he married. Like his
father-in-law, Pourbus gave some attention to en-
graving, architecture, and topography. He was
also a good geometrician. He painted for the
magistrates of Bruges a large chart or picture,
on canvas and in oil, of the whole of the territory
within their jurisdiction, in which he represented
the minutest details. This immense work still
exists in the H6tel de Ville. Pourbus was originally a
mason ; and when he became eminent as a painter
and architect, marked his works with a trowel.
He was President of the Corporation of Painters
at Bruges, where he died in 168-t. By some
writers it is stated that he died at Antwerp. He
painted many altar-pieces in that city for the
churches, particularly the ' Crucifixion,' still pre-
served, in the church of Nfitre Dame. In the great
church at Gouda was a picture by him representing
' St. Hubert.' His portraits are of a rare perfection ;
tho Academy at Bruges possesses two painted in
1661. There are three pictures by him in the
private collection of the King of Holland, and
pictures also exist in the churches of St. Saviour
and St. James at Bruges. To these may be added :
Bruges. Convent of the \ Portrait of Charles V. ; upon
Annunciata. j glass. 1551.
„ „ The Annunciation.
„ „ The Nativity.
„ Toim Hall. The Last Judgment.
Brussels. Gallery. Portrait of J. Van der Gheenste
{dated 1583, the latest year
that appears on any work of
Pourbus).
Paris. Louvre. The Eesurrection of Christ.
Botterdam. Museum. Portrait of a Lady.
Vienna. Gallery. Portrait of Don Pedro Guzman.
„ „ Four Male Portraits.
POURBUS, PlETER (or Poeebusse), the elder, is
supposed to have been bom at Gouda in 1463, and
to have been the father of Pieter Pourbus. Nothing
is known of his life.
POUSSIN, Gaspard. See Dhghet.
POUSSIN, Lavall^e. See Db la Vall&e,
Etienne.
POUSSIN, Lemaiee. See Lemaiee, Pierke.
POUSSIN, Nicolas, painter, who has been
called the head of the French school, was born in
June, 1594, at Villers, a hamlet in the district of Les
Andelys, in Normandy. It was at one time sup-
posed that his father, Jean Poussin, was of gentle
birth, and had served in the wars of the League,
but recent researches have thrown much doubt
upon that idea. Although not encouraged by his
parents, the young Nicolas early showed a predi-
lection for art. After some opposition he succeeded
in obtaining their consent to his receiving in-
struction from an artist named Quentin Varin.
This painter, a native of Beauvais, passed some
time, about 1610, at Les Andelys, where he left a
reminiscence of his sojourn in two pictures, still to
be seen at the church of Le Grand Andely. From
him Poussin learnt to paint in distemper, and also
in oils. This instruction only served to whet his
appetite for art, and to render him desirous of con-
tinuing his studies in Paris. Accordingly, at the
age of eighteen, he quitted his home secretly, and
managed to reach the capital, unaided by friends,
and with the slenderest resources.
In Paris he continued his training under Ferdi-
nand EUe, a Flemish portrait painter, and afterwards
under L'Alleniand, a Lorrainer. Though doubtless
he received some assistance from these masters, his
progress was due rather to the study of Marc An-
tonio's engravings after Raphael and Giulio Romano.
These belonged to an amateur, to whom he was
introduced by a young Poitevin, of good family,
with whom ho had formed a friendship. His studies
were interrupted for a short time by atrip to Poitou
with his friend ; but his reception by his friend's
mother, who treated him as a domestic, disgusted
him, and he painted his way on foot back to
Paris. Tliere he stayed but a short time, for an
illness, brought on apparently by the fatigues of
his journey, compelled him to seek his home at
Les Andelys, where he remained for about a
3'ear. On his return to Paris, the desire to visit
Rome, which he had always entertained, increased
so much that in 1620 he resolved to make the
attempt. But he only got as far as Florence, when
he was compelled to turn back. Settling again in
Paris, he formed an acquaintance with Philippe de
Cliampaigne, like himself a, pupil of L'Alleniand,
and the two worked for some time under Duchesne
on the decorations of the Luxembourg. But this
employment soon became irksome, and Poussin
again endeavoured to reach Rome. On this occasion
his resources failed him by the time he arrived at
Lyons, and he had to exercise his brush to procure
the means to return to Paris. Here a series of
pictures which he executed for the Jesuits attracted
the notice of the Italian poet, the Cavaliere Marini,
then in Paris. This patron gave him lodgings in
his house, and on Marini's return to Rome Poussin
followed him there in the year 1624, having re-
mained in Paris to complete a picture, ' The Death
of the Virgin,' commissioned by the Goldsmiths for
N6tre Dame.
He now began a course of study of the classic
remains around him, which continued during the
whole of his life, and rendered him the best inter-
preter of antiquity among the painters of his
country. He became intimate with Duquesnoy, tlie
Flemish sculptor, 'il Fiammingo,' and the two
artists worked together with a congenial ardour in
their study of ancient art. The rules of perspective
Poussin studied in the treatises of Matteo Zoccolino
and others. His knowledge of anatomy he improved
under the guidance of Nicholas Larcher, a surgeon
then practising in Rome. Among modern painters
Raphael perhaps exercised the greatest influence
over him, but he also received very substantial
profit from working in the studio of Domeni-
chino. So great was his ardour for work, that his
friends could with diflSculty lure him away from
his studio even on holidays. His sojourn in Rome
opened brightly and with good promise. Besides
the patronage of Marini, he was also introduced to
Cardinal Barberitii, the nephew of the reigning
Pontiff. But the death of the first, and the
departure of the Cardinal from Rome, wrought a
change in his prospects, and he had to fight a
hard struggle for the bare necessities of existence.
The prices he received for his works at this time
scarcely sufficed to procure his daily bread. _ He
has left it on record that he sold two battle-pieces
for fourteen crowns, and a ' Prophet ' for less than
two. And his troubles were not confined to narrow
means. The national jealousy between the Italians
315
Poussin
A BIOGRAPHICAL DICTIONARY 0^
Poussin
and the French was just then at fever-heat, and his
French costume caused him to be attacked by some
wandering swash-bucklers in tlie street. He was
fortunate enough to escape with a wound in the
hand, and thenceforth adopted the Italian dress.
Shortly afterwards he was prostrated by a serious
illness. Thanks to the care of a compatriot, Jacques
Dughet, by whose family he was carefully nursed,
his recovery was complete. The gratitude of the
painter was not evanescent. In 1630 he married
Anna Maria, the eldest daughter of his host.
Having no children, he subsequently adopted his
wife's brothers, Jean and Gaspard, the former of
whom became an engraver, and the latter, under
his fostering care, more than rivalled him in pure
landscape. With his wife's marriage portion
Poussin bought the house on the Pincian which
became his home, and with which his name is
inseparably connected. On the return of Cardinal
Barberini to Rome, the star of the painter began to
be in the ascendant. For this patron he painted
' The Death of Germanicus,' and ' The Taking of
Jerusalem by Titus.' Through him he also obtained
the commission to paint ' The Martyrdom of St.
Erasmus,' for St. Peter's. For the Commander
Cassiano del Pozzo, of Turin, who was among the
first to recognize his genius, and who always con-
tinued one of his chief friends and patrons, he
produced many works, notably the first series of
the ' Seven Sacraments.' To this period of his
career belong several other important works, such
as ' The Sabines,' ' The Philistines struck by the
Plague,' 'The Manna,' ' Moses striking the Rock,' &c.
Poussin's reputation was by this time so well
established in his own country that in 1639 M. de
Noyers, the superintendent of the royal buildings,
made overtures to induce him to come to Paris.
The painter hesitated ; he preferred the serene
artistic atmosphere of Rome to the intrigue and
disquietude of a court. Then Louis XIII. expressed
his royal wishes, and although Poussin yielded, it
was not until 1640 that he arrived in France, in the
train of his friend De Cliantelou, who had taken a
leading part in the negotiations. At first all went
well. He was presented to the great Richelieu
and to the king, and was received with great
favour. His travelling expenses were paid, a pen-
sion was bestowed on him, a residence was assigned
him for life in the garden of the Tuileries, and he
was appointed first painter in ordinary. In spite
of these advantages the reluctance which he had
shown to quit Italy again appears in the fact that
he would not bind himself for a longer period than
five years. His sojourn in France was marked by
great activity. He produced eight cartoons, founded
on sacred subjects, for tapestry, pictures for the
chapels of the' palaces at Fontainebleau and St.
Germain, and an important series of works illus-
trating the ' Labours of Hercules,' for the great
gallery at the Louvre, besides designs for book
illustrations, &c. But the two years passed by the
painter in Paris were a period of much disquiet.
The advent of such a star into the artistic firma-
ment of Paris could not fail to excite much jealousy
amongst those whose light was in danger of eclipse.
Poussin had to suffer many annoyances from their
intrigues. His chief opponents were the hitherto
all-powerful Vouet, Peuquieres, and the architect
Lemercier. Wearied at last of their cabals, he ob-
tained leave, under the pretence of fetching his wife,
to return to Rome. Thither he set out in the autumn
of 1642, and never returned to his native country.
316
The remainder of his life was spent in Italy, in
the tranquil pursuit of his beloved art. His sub-
sequent career contains no events of importance to
record. It might be summed up in a list of the
works which he produced. Of these, the following
are some of the most important. In 1648 he com-
pleted a second series of pictures of the ' Seven
Sacraments,' which had occupied him since 1644,
for his friend De Chantelou. At the repeated
request of his old friend, he painted, in his fifty-
sixth year, his own portrait, now in the Louvre.
Amongst other works executed during what is
called his middle period, when he was in the
maturity of his power, are the well-known ' Shep-
herds of Arcadia,' ' Diogenes,' ' Eliezer and Rebecca,'
'The Judgment of Solomon,' and 'The Vision of
St. Paul.' Of works produced in his third and
latest period, mention should be made of ' The
Woman taken in Adultery,' ' The Adoration of the
Magi,' and the series of pictures of the 'Seasons,'
painted for the Duke of Richelieu in 1660-64. In
the year which saw the completion of this com-
mission he lost his faithful wife, after an illness of
nine months. He touchingly expresses his grief
and bewails his lonely condition in a letter to De
Chantelou, with whom he had maintained an in-
timate correspondence for nearly thirty years. He
did not long survive her loss ; he died in Rome
the 19th November 1665, and was buried in the
church of S. Lorenzo in Lucina. His property',
amounting to 10,000 crowns, was left to his poor
relations in Normandy.
The most striking characteristic of Poussin is
his intimate knowledge and appreciation of classic
art. His composition and drawing are but little
obnoxious to criticism, though it must be owned
that there is an occasional stiffness in the latter,
the result of incessant study of statues and friezes.
His colour, especially in his later works, is the
point in which he is most open to reproach. It is
generally heavy in tone, and the flesh tints are
frequently painfully hot. His failure as a colourist
is to be largely ascribed, however, to his practice
of painting upon a red ground. With the passage
of time this ground begins to assert itself through
the pigments laid upon it, and to produce heat and
opacity even in works that, when painted, were
good enough in colour. The etching, ' Children
Playing,' attributed to him, dates, most likely, from
the 18th century. There is a fine collection of
Poussin's drawings in the Royal Collection at
Windsor.
The following is a list of Poussin's pictures in
the public galleries of Europe ; a few of the more
important in private collections are also included.
Barcelona.
Academy.
Narcissus.
Basle.
Galleri/.
Bacchus.
Berlin. JVa
. Gallery.
Axmida and Einaldo.
jj
»>
Education of Jupiter.
j»
fy
Helios and Phaethon.
»
)>
Mythological landscapes.
Bordeaux.
Museum.
Holy Family.
Caen.
))
Death of Adonis.
Cassel.
Gallev}/.
Satyrs and a Bacchante.
Cherbourg.
3fuseum.
Pyramus and Thisbe.
)j
»
Pieta.
)>
n
Landscape.
Copenhagen
'tians'!;^rl'.}^'^'^^'*'^^'^'^^St-hemnd.
ij
»»
The Burning Bush.
Dresden.
Gallejy.
Sacrifice of Noah.
»>
»
Moses exposed.
■>■>
j»
Adoration of the Magi.
»
»)
Martyrdom of St. Erasmus
'Poussin
PAINTERS AND ENGRAVERS.
Powell
Dresden. Gallery. Beign of Flora.
„ „ Narcissus.
„ ,, Venus and Cupid.
„ „ Fan and Syrinx.
Dublin. Nat. Gallery. The Entombment.
„ „ Phineus and the Gorgon's head.
Florence. Uffizi. Theseus at Troezene.
„ „ Venus and Adonis on Mount Ida.
Gotha. Gallery. Landscape.
Hampton Court. Pal. Nymph and Satyrs.
„ „ The Dead Christ.
Karlsruhe. Gallery. Virgin and Child.
Le Mans. Museum. Cupid awaking a Sleeping Child.
Liverpool. ^^^^^.^f°^^^ | Landscape with Shepherds.
London. Nat. Gallery. The Plague at Ashdod.
„ „ Bacchanalian Festival.
,, „ Cephalus and Aurora.
„ „ Sleeping Venus.
„ „ Bacchanalian Dance. {A master-
piece.)
„ „ Landscape.
„ „ The Nursing of Bacchus.
„ Bridyewater ) The Seven Sacraments. (The set
House. J painted for M. Chantelou.)
„ „ Moses striking the Eock.
„ Dulmch Gallery. Education of Jupiter.
„ „ Triumph of David.
„ „ Adoration of the Magi.
„ „ Inspiration of Anacreon.
„ „ Flight into Egypt.
,j „ Rinaldo and Aimida.
„ „ The Assumption.
{The last jive are not, perhaps, ly
the hand of the master.)
Lyons. Museum. Bacchanalian Scene.
Jila,&ndL.Royal Museum. Bacchanalian Festival.
„ „ Parnassus.
„ „ David, the Conqueror of Goliath.
„ „ Euins, with Hermit.
„ „ Meleager and Atalanta, &c., &c.
Montpellier. ifuseum. Death of St. Cecilia.
„ „ Baptism of Our Lord.
„ „ Birth of Bacchus.
„ „ Bebecca and Eliezer.
„ „ Venus and Adonis.
„ „ Adoration of the Shepherds.
„ „ Judgment of Paris.
„ „ Portrait of Cardinal Bospigliosi
(Clement IX.).
„ „ Landscapes, &c.
Munich, Pinakothek. Midas and Bacchus.
„ „ Adoration of the Shepherds.
„ „ The Sepulchre of Our Lord.
„ „ St. Norbert.
„ „ Portrait of Himself.
Nancy. Museum. Entry of Our Lord into Jeru-
salem.
Narbonne. „ Camillus and the Schoolmaster.
„ „ St. John baptizing in the Jordan.
Oldenburg. Gallery. The Israelites attacked by Fiery
Serpents.
„ „ Moses striking the Eock.
Paris. Louvre. Eliezer and Eebecca. 1648.
„ „ The Finding of Moses.
„ „ The Israelites fed by Manna.
1639.
„ „ The Philistines struck by the
Plague.
„ „ The Judgment of Solomon. 1649.
„ „ The Holy Family. 1651.
„ „ The Blind Men of Jericho. 1651.
„ „ The Assumption. 1650.
„ „ The Ecstasy of St. Paul.
„ „ Bacchanalian Scene.
„ „ Echo and Narcissus.
„ „ The Concert.
„ „ The Shepherds of Arcadia.
„ „ Portrait of Himself. 1650.
„ „ Summer : Euth and Boaz.
,, „ Autumn: The Eetum of the
Winter: The Deluge.
Paris. Lourre.
Petersburg. Hermitage.
Quimper. Museum.
Eennes. „
Eome. ■ Academy of\
St. Luke, i
Diogenes. 1648. &c., &c.
Moses striking the Rock.
Victory of Joshua over the
Amalekites.
Victory of Joshua over the
Amorites.
The Testament of Eudamidas.
Triumph of Galatea.
Esther and Ahasuerus, &c., &c.
Finding of Moses.
Euins of a Triumphal Arch.
Death of Germanicus.
'» JJ
Triumph of Bacchus.
„ Fal. Conservatori.
Triumph of Flora.
" 7»
Orpheus.
„ Vatican.
Martyrdom of St. Erasmus.
Stockholm. Nat. Gall.
Laban searching for his Idols.
Toulouse. Museum.
St. John Baptist in the Desert.
m V »
Holy Family.
Turm. Gallery.
A Hunter.
'» »
St. Margaret.
Vienna. Belvedere.
The Sack of the Temple at Jeru-
salem by Titus.
BIBLIOGEAPHT :
Gault de St. Germain, ' Vie de N. Poussin.' 1806.
Mr.-:. Graham, 'Memoirs of the Life of N. Poussin.'
1820.
H. BoueUtte, ' Le Poussin.' 1865.
E. Gandar, ' Les Andelys et N. Poussin.' 1860. &c., &c.
O.J.D.
POWELL, C. M., an English marine painter,
flourished during the first twenty years of the
present century. His vs^orks are numerous, as he
was principally employed by the dealers, but little
of his history is known, further than that he was
originally a sailor, and self-taught in the art of
painting. Many of his pictures are injured from
being varnished imprudently. Powell was a clever
artist, but a careless man ; hence he was always
in a state of thraldom, and had frequently the
mortification of seeing his pictures sold at once by
his ' patrons ' for five times the sum he had received.
He exhibited at the Royal Academy in 1809, and
repeatedly afterwards up to 1820. He died in
1824.
POWELL, George William H., a portrait and
historical painter, was born in the State of Ohio,
U.S., in 1824. He was an associate member of the
National Academy, and worked in New York, where
he died in 1879. Among his works are :
The Discovery of the Mississippi by De Soto (Rotunda
of the Capitol, "Washington).
The Battle of Lake Erie. (Painted for the State of Ohio.)
The Landing of the Pilgrims.
Portraits of General McClellan, Major Anderson, and
Washington Irving.
POWELL, JoH^f, sm English portrait painter and
copyist of Reynolds, of whom he was an assistant.
He exhibited at the Academy from 1778 to 1785.
There is a portrait of the Duke of Cumberland by
him in the National Portrait Gallery. It is a copy
from Reynolds.
POWELL, John, an English landscape painter,
chiefly in water-colours, born about 1780. On the
foundation of the old Water-Colour Society, he was
an unsuccessful candidate for membership. He
had a large practice as a drawing-master, and ex-
hibited at the Royal Academy from 1797 to 1829.
There are some landscape and tree etchings by
him, and the South Kensington Museum possesses
four of his water-colour drawings.
POWELL, Joseph John, an English historical
painter, born in 1834 at Douai, where, and at Lille,
317
Powis
A BIOGRAPHICAL DICTIONARY OF
Pradier
he received his first instruction in art. Coming
to England in 1851, he entered the schools of the
Academy and obtained various honours, culmin-
ating in 1855 with the gold medal for his ' Death
of Aloibiades.' He suffered much from poverty
and ill-health, and his career was cut short in the
raidst of much promise. He died at Southampton
in 1856.
POWIS, William Henry, an English wood-
engraver, was born in 1808. He rapidly made him-
self a position-, but his unremitting labour sapped
his health, and he died in 1836. Specimens of his
work are to be found in :
' Illustrations of the Bible.' 1833.
Scott's Bible. 1834.
■ ' Solace of Song.'
POWLE, George, was an English engraver, who
flourished in the middle of the 18th century. He
was a pupil of Worlidge, and has engraved por-
traits, some of which he exhibited in 1776 with the
Pree Society of Artists. Among them, in the style
of his instructor, is that of Sir Robert Berkeley,
Chief Justice of the King's Bench. His only known
mezzotint plate is a portrait of Mrs. Worlidge, after
a painting by her husband. He also designed some
views of the City of Hereford, which have been
engraved by James Ross.
POZO, Pedro, an historical Spanish painter, bom
at Lucena in 1700. He studied under Luis Cancino,
and afterwards went to Rome. He, however,
eventually abandoned painting for literature. His
son Pedro, also an artist, died in America about
1810.
POZZI, Andrea, an historical painter, born at
Rome in 1778. He painted several mythological
subjects, but one of his chief works was a 'Virgin
and Saints,' painted for the City of Camerino. In
1820 he painted for a chapel of S. Maria Rotondo,
in Rome, a 'Martyrdom of St. Stephen.' He was
President of the Academy of St. Luke at Rome
for many years.
POZZI, DoMBNiCO, a painter, was born at Castel
St. Pietro in 1742. After receiving instruction
from his father and Baldrighi he entered the
Academy of Milan. After some time he went to
Rome and then to Germany, where at Mannheim,
in the Library of Count von Castelli, he executed
several paintings. He afterwards worked in Solo-
thurn, Mendrisio, and in the Palace of the Marquis
Odescalohi. He died at Milan in 1796.
POZZI, FaANCESCO, an Italian engraver, born at
Rome in 1750, was the nephew of Rocco Pozzi. In
conjunction with Coppa and Perini, he engraved
some of the plates from the statues in the Clemen-
tine Gallery. He died about 1805. The following
prints also by him:
Portrait of Pope Pius VI.
Aurora; after the ^aintin^ hy Guercino in the Villa
Ztidovid. 1780.
POZZr, Giovanni Battista, was, according to
-Baglione, a native of Milan, where he was born
about 1560, but went to Rome when young, and
was employed by Sixtus V. in the palace of S.
Giovanni Laterano, and in the library of the Vatican.
In the Sistine Chapel in Santa Maria Maggiore, he
painted ' The Visitation of the Virgin,' and ' The
Angel appearing to St. Joseph in his Dream.' He
died at the premature age of 28 j-ears.
POZZI, Giovanni Battista, was born at Milan
towards the end of the 17th century. Ho decor-
ated a large number of buildings in the Piedmon-
tese with hasty frescoes. Some of his best work
318
is to be seen in S. Cristoforo, at Vercelli. The
dates of his birth and death are unknown.
POZZI, Cario loNAzro, painter and architect, was
born at Mannheim in 1766. He was a son of Giu-
seppe Pozzi, an ornaraentist, and studied at the
Academy of his native city. He travelled through
the Netherlands, and then visited Italy. At Parma
he copied the worlis of Correggio. He painted
historical scenes, portraits, and landscapes. In
1779 he was engaged in scene painting at Dessau.
He died in 1842.
POZZI, Rocco, was a native of Italy, who flour-
ished about the year 1750. He engraved several
of the plates for the ' Museo Florentine,' and exe-
cuted some of the prints for the ' Antiquities of
Herculanenm,' published at Naples. He was court
engraver to the King of Naples, and died about
1780.
POZZI, Si'EFANO, was a native of Rome, and was
first a scholar of Carlo Maratti, and afterwards
studied under Agostino Masucci. There are several
of his works in the public buildings of Rome:
in the palace of Monte Cavallo a picture of 'St.
Gregorio; ' and in the church of il Nora"! SS. di
Maria, an altar-piece representing the ' Death of
St. Joseph,' may be named. He died at Rome in
1768. His brother Giuseppe, also a painter, died
young, in 1763.
POZZO, Andreas, was bom at Trent in 1642.
Without the assistance of a master he became an
eminent architect and painter. By studying the
works of the Venetian school he became an ex-
cellent colourist, and during a residence of several
years at Rome he improved his style of design.
In 1665 he entered the society of Jesus, and was
afterwards chiefly occupied in ornamenting the
churches of his order. He resided some time at
Genoa, where he painted for the Congregazione de
Meroanti four pictures of the ' Life of our Saviour,'
in the style of Rubens, which he had studied during
a previous residence at Turin. Of his works in oil,
one of the most esteemed is his picture of ' San
Francesco Borgia,' in the Jesuits' church at Rome.
He was more eminent in fresco, in which his
masterpiece, perhaps, is the ceiling of the church
of St. Ignatius at Rome. Such was his facility
that Ciro Ferri was accustomed to say, that
the horses of other painters moved at a foot's
pace, but those of Pozzo were always on the
gallop ; and Lanzi reports, that he painted the
portrait of a cardinal in four hours. He was
invited to Vienna by the Emperor Leopold, where
he exeouted some works for public buildings, and
died in 1709. He also worked at Modena, Monte-
pnlciano, Arezzo, and Bologna. His brother, Padre
GinsEPPB Pozzo, a barefooted and Carmelite monk
of Venice, decorated the high altar of the church
of the Soalzi in that city during the last years of
the 17th century.
POZZO, Isabella dal. See Dal Pozzo.
POZZO, Matteo DEL. See Del Pozzo.
POZZOBONELLI, Giuliano, an obscure Milan-
ese, who was painting in that city in 1605.
POZZO SERRATO, Lodovico. See ToEPnT.
PRADIER, Charles Simon, a French engraver,
but a native of Geneva, was born in 1790, and was
a scholar of Desnoyers. He was the brother of
James Pradier, the celebrated sculptor, and died
in 1848. Among his principal plates are several
portraits after Gerard, and the following :
La Vierge aux Bulnes ; after Raphael,
Titian's Daughter ; after Titian.
Prado
PAINTERS AND ENGRAVERS.
Freisler
Cupid and Psyche ; after Girard.
Virgil readiog the ' ^neid' to Augustus ; after the same.
Zephyr caressing Flora ; after the same.
Eaphael and the Fomarina ; after Ingres.
Jesus Christ giving the keys to St. Peter ; after the same.
Virgil reading the Sixth Book of the '^neid' to
Augustus ; after the same.
Antiochus ; after the same.
Portrait of Queen Hortense.
Some Landscapes.
PRABO, Blas del. See Del Peado.
PRAG, Theodobich von, was an artist, who
flourished from 1348 to 1375, and was court painter
at Prague to the Emperor Karl IV. He is now
regarded as the probable author of a ' Christ on the
Cross,' and ' The Church Teachers, Ambrosius and
Augustine,' which have been removed to the Bel-
vedere from the chapel of Carlstein Castle, in
Bohemia, and which were formerly attributed to
Nicolaus Wurmser. Theodorich also painted an
altar-piece in the Raudnitz Monastery, now placed
in the Gallery of Prague.
PRAMPOLINI, Alessandeo, a landscape painter,
who was born at Reggio, in the Emilia, in 1827,
and died there in 1866, is known chiefly by his
views of the neighbourhood of Tivoli and of the
Roman Ruins. He was professor of painting at
Eeggio.
FRANKER, Robbet, was an English line en-
graver, who was much employed by the booksellers.
He married the daughter of Gerard van der Guclit,
and became in 1763 a member of the Free Society
of Artists.
PRATA, Eanunzio, a native of Milan, who
painted in Pavia about 1685.
PRATO, Eeanoesco del, an Italian still-life
painter. He was first a goldsmith, but afterwards
turned to painting, and put himself under the
instruction of Salviati. He died in 1562.
PRATO, GlKOLAMO del, draughtsman, sculptor,
niellist, and goldsmith, flourished at Cremona in the
first half of the 16th century. He has been some-
times called the ' Lombard Cellini.'
PRATO VBCCHIO, Jacopo da. See Landing.
PRATT, Matthew, an American portrait painter,
born at Philadelphia in 1734. He began life as a
sign painter, but afterwards studied four years with
West. He assisted Peale in establishing his
museum at Philadelphia, and died in 1805.
PRATTENT, T., an engraver who practised at
the end of the 18th century, by whom there are
some etchings in the 'Gentleman's Magazine.'
PRECIADO, Feanoisco, (or Pbeziado,) was bom,
according to Lanzi, at Seville in 1713. He was a
scholar of Domingo Martinez, but he visited Rome
in 1733, where he entered the school of Sebastiano
Conca. On leaving him he painted some pictures
for the public edifices at Rome, particularly a
' Holy Family ' for the church of the Forty Saints,
which is entirely in the style of his instructor. He
was appointed painter to the camera of Ferdinand
VI., and director of the Spanish Academy at Rome.
There are few of his works in his native country,
as he resided the greater part of his life at Rome,
where he died in 1789.
PREIRA. See Pbeeira.
PREISLER, Daniel, (or Preisslee,) was born
at Prague in 1627, and iti 1654 became a master of
the Landau Brotherhood at Nuremberg, through
his painting of ' The Death of Abel.' He died at
that city in 1665. The Brunswick Gallery possesses
a male portrait by him, and two of the churches
of Nuremberg contain his ' Descent of the Holy
Ghost' and 'The Ascension of Christ.' He was
the founder of the Preisler family of artists, being
the father of Johami Daniel, and consequently the
grandfather of four others named below, and the
great-grandfather of Johann Georg Preisler, the
last of the name.
PREISLER, Geoeg Maetin, the second son of
Johann Daniel Preisler, was born at Nuremberg
in 1700, and followed his brother Johann Justin
Preisler to Italy, where he resided some years.
Ho was one of the engravers employed by Stosch
for his work on antique gems. He died at Nurem-
berg in 1754. Huber speaks of him as a painter
of portraits ; but he is most worthy of notice as an
engraver. Besides some plates after the statues in
the Dresden Gallery, and a set of twenty-one plates
from- drawings made by Johann Justin Preisler, '
after statues at Rome and Florence, there are tlie
following prints by him :
PORTEAlrS.
Eapha^. (His chef-SavAire.)
Giovanni Domenico Ferretti, painter; afler a picture
ly himself.
Giovanni Domenico Campiglia, painter ; after himself.
Eglou van der Neer ; after the portrait by himself in the
Florentine Galle-i^.
PREISLER, Johann Daniel, son of Daniel
Preisler, was fjom at Nuremberg in 1666, and died
there in 1737. He was a pupil of his stepfather,
H. Popp, and of J. Miirrer, and came to be principal
of the school of design in his native city, for which
he also published a drawing-book. He painted
'The Four Evangelists' on the ceiling of the
.SIgidienkirohe. He was the, father of four of the
artists cited in this series of articles (Johann Justin,
Georg Martin, Johann Martin, and Valentin Daniel)
and of Baebaea Helena Pebislee. (See Ceding.)
PREISLER, Johann Geoeg, the son of Johann
Martin Preisler, was born at Copenhagen in 1757.
After receiving some instruction in engraving f lom
his father he entered the Academy of his birth-
place, where in 1780 he obtained the gold medal
for his plate of ' Christ and the Samaritan Woman.'
In the following year he went to Paris, where he
became a pupil of Jean George Wille. He en-
graved several plates in the style of his instructor,
and in 1787 was made a member of the Academy
in Paris. His plate of reception represented
' Dasdalus and Icarus,' engraved from a picture by
Vien. After his return he was in 1788 admitted a
member of the Academy cf Copenhagen. He died
at Lyngby, near that city, in 1831.
PREISLER, Johann Justin, a German painter
and engraver, the eldest son of Johann Daniel
Preisler, was bom at Nuremberg in 1698. He was
instructed in design by his father, and afterwards
visited Italy, where he resided eight years. On
his return to Germany he gave proof of considerable
ability in a picture representing the ' Ascension of
Christ,' for one of the hospitals at Nuremberg,
where he died in 1771. He is, however, more
known as an engraver than as a painter. The
following prints are by him :
The Four Elements ; after- Boiichardon.
The Four Quarters of the World ; after the same.
A set of fifty plates of the principal antique statues at
Rome ; frmn the designs of Bouchardon.
Part of the plates from the ceilings painted by Rubens,
in the church of the Jesuits at Antwerp, with the
frontispiece, containing the portraits of Eubens and
Van Dyck.
PREISLER, Johann Martin, the third son of
Johann Daniel Preisler, was born at Nuremberg in
319
Preisler
A BIOGRAPHICAL DICTIONARY OF
Frestel
1715. He was instructed in engraving by his
father and his eldest brother ; but in 1739 he visited
Paris, where he received some lessons from Georg
Friedrich Schmidt. In 1744 he was invited to the
court of Denmarlt, and became engraver to the king,
and a member of the Academy at Copenhagen, near
which city (at Lyngby) he died in 1794. There
are several plates by this artist, among them the
following :
POETBAITS.
Frederick V., King of Denmark and Norway, and his
Consort ; after Tilo. ITJS.
Christian TI., King of Denmark ; after Wahl.
Jacobus Benzelius, Bishop of Upsal. 1751.
Otto, Count de Thot ; after Krafft.
' Johan Wiedewelt, sculptor ; after P. Alst. 1772.
Klopstock; after Jud. 1782.
Equestrian Statue of Frederick T. ; after the original in
bronze hy J. Saly,
Cardinal de Bouillon ; after Rigaud.
SUBJECTS AFTER VARIOUS MASTERS.
David and Abigail ; after Guido Beni.
Seniiramis putting the Crown of Ninus on her head ;
aftei^ the same.
Christ bearing His Cross ; after Paolo Veronese. This
and the preceding print were for the Dresden Gallery.
Ganymede taken up by the Eagle of Jupiter; aftei-
Pierre.
A Bacchanalian subject ; after the same.
Laban seeking for Ms Gods ; after Canes.
The Triumph of David ; after Trevisani.
Jonah preaching to the Ninevites ; after Salvator Rosa.
The ' Madonna della Seggiola ; ' after Raphael.
Many plates from antique statues in the galleries of
Italy and Germany.
PREISLEB, Valentin Daniel, the fourth and
youngest son of Johann Daniel Preisler, was bom
at Nuremberg in 1717, and studied under his
brother Johann Martin. There are by him some
mezzotint portraits of the Burgomasters of Zurich,
after the designs of J. 0. Fiissli, which, from some
caprice, he signed with the name of ^S*. Walch.
He also scraped some plates of portraits and his-
torical subjects, after pictures in the collection of
the King of Denmark. He died in 1765. Nagler
enumerates twenty-six pieces by him ; one is a
' Virgin and Child,' after Correggio.
PRELLER, Feiedrich Johann Christian Ernst,
painter and etcher, was born at Eisenach in 1804.
He came when young to Weimar, but studied for
two years at Dresden about 1820. In 1822 he
returned to Weimar, and became the close friend of
Goethe, and, through him, the prot^r/d of the Grand
Duke, Karl August. In 1827 Preller went to Rome,
where he studied under Koch. Four years later he
was again in Weimar, painting six large Thuringian
landscapes, with historical incidents, for the
Schloss, and decorating the Wieland Hall in the
Museum with scenes from ' Oberon ' in fresco, and
a Hall in Leipsic with scenes from the ' Odyssey.'
The sixteen cartoons for these latter pictures are in
the Leipsic Museum. In 1840 Preller visited Nor-
way, which provided him with subjects for many
landscapes and ' marines.' He died at Weimar in
1878. Among his pictures we may also name:
Calypso. (Munich.)
Leucothea. (The same )
Styrian Landscape. (^Berlin National Gallery)
Norwegian Coast Scene. {The same.)
About 1830 Preller became interested in etching,
and established a club for its encouragement.
Among his own plates the best, perhaps, are the
thiee following (B. M.) :
320
Landscape with a View of the EUersbnrg.
Hiion, bound, and leaning against a Tree.
Landscape with a Stag.
PRENNEB, Anton Joseph von, a German en-
graver, was bom at Vienna about the year 1698.
After the death of Jacob Mannl, he undertook,
conjointly with Andreas Altamont, Franas, Stam-
part, Johann Adam Schrautzer, and other artists to
engrave all the pictures in the Imperial Collection.
The plates, consisting of 160, were published at
Vienna in four volumes, under the title 'Theatrum
Artis Pictori^,' in the years 1728 to 1733. He died
in 1761. He has scraped a few plates in mezzotint,
but they are inferior to his other works. He also
engraved some portraits, among which are the
following :
Johann Gottfried Auerbach, Painter to the Emperor
Charles VI.
Count d'Odt, Governor of Vienna; after J. G. Auer-
bach.
PRENNER, Georg Caspar von, the son of -Anton
Joseph von Prenner, was born at Vienna about the
year 1722. He went young to Italy, and studied
painting at Rome for several years. In the church
of Santa Dorot^a there is an altar-piece by this
artist. There are a few etchings by him, some of
which are neatly finished with the graver. He
engraved some of the plates for the ' Museo Fioren-
tino ; ' and also those for the ' Illustri Fatti Fame-
siani,' published at Rome in 1744 and 1746. He
died in Italy in 1766.
PRENNER, Johann Joseph v0N,was the younger
son of Anton Joseph von Prenner, and was in-
structed in engraving by his father. He resided
some years in Italy, where he executed some plates
for the ' Museo Fiorentino.' He also engraved a
set of forty-five prints from the paintings by
Taddeo Zuccaro, in the Castle of CapraroUa, repre-
senting the most memorable actions of the Farnese
family.
PRENTIS, Edward, an English subject painter,
born in 1797. He was one of the earliest members
of the Society of British Artists, where he exhibited
from 1829 to 1850. In 1823-4 he exhibited at
the Royal Academy. His works were generally
of a domestic and humorous character, conveying
some moral, and several of them were engraved.
He died in 1854, leaving a widow and a large
family. Works :
The Prodigal's return from the Alehouse. (1829.)
Valentme's Eve. (1835.)
The Hypocrite. (1838.)
Morbid Sympathy. (1843.)
The Folly of Extravagance. (1850.)
PRESTEL, Johann Amadeus, (called also J.
Gottlieb and J. Theophilus,) a German painter
and engraver, was bom at Gronenbach, in Swabia,
in 1739. He was at first a carpenter, but during
the restoration of the abbey of Ottobeuren' he
learned drawing under F. A. Zeiller, and in 1760
went to Venice, where he studied painting under
Giuseppe Nogari, and was instructed in engraving
by Joseph Wagner. In 1767 he proceeded to
Rome, where he spent four years in studying the
antique and copying Pompeo Batoni. Two years
later he settled at Nureipberg and married the
engraver Maria Catherina Holl (see next article).
In 1775 he spent some time in Zurich drawing
portraits, after which he returned to Nuremberg,
and devoted himself to reproducing drawings by
the best masters — among other works executing
the thirty plates of the ' Schmidt Cabinet,' and
Prestel
PAINTERS AND ENGRAVJIES.
Prevost
the forty-eight of the ' Braun Cabinet.' In 1783
he returned to Frankfort, where he died in 1808.
In 1814 his son published fifty more of his plates.
He worked in various styles ; and left a great
number of plates, most of which are first etched, and
then finished in aquatint. He also engraved several
plates in the crayon manner. Among others, we
have the following prints by him :
The Portrait of himself, sitting at an easel ; frma his
own design.
The Descent from the Cross ; after Raphael; in chiaro-
scuro.
The Virgin with the Dead Christ ; after Van Dyck.
The Holy Family ; copied from Albreeht DUrer.
PRBSTEL, Maria Cathabina, (nee Holl,) was
the pupil and afterwards wife of Johann Amadeus
Prestel, whom she aided in some of his best plates,
particularly in landscape. In 1786 she separated
from him, and came with her daughter to Eng-
land, where she engraved some prints, which are
etched with spirit, and finished in a picturesque
manner in aquatint. She died in London in 1794.
She has left some seventy-three plates after Italian,
Dutch, and German masters. Among others, the
following prints are by her :
Ceres ; au oval ; after Cipriani.
Four Views from the designs made by Webber, in his
voyage with Captain Cook.
Two other Views ; from the same.
Two Landscapes, with Horses ; after Wouwerman.
A pair of Views, with Horses and figures ; after Casanova.
Hobbema's Village; after Hobbema.
Evening, with Cattle reposing ; after Eosa di Tivoli.
Two Landscapes ; after Gainsborough.
View of a Tin Mine ; after Loutherbourg.
Her daughter, Ursula Magdalena Prestel,
afterwards Reinhbimer, was born at Nuremberg in
1777, and after residing with her mother some time
in London, went on her marriage to Brussels, where
she died in 1845. She painted portraits, land-
scapes, and flowers, and etched in aquatint.
PRESTON, Thomas, called 'Captain Preston,'
was an English engraver, who flourished in the
reign of George II. He was an artist of little
celebrity, whose name is affixed to a slight etching
of a bust of Pope. There are also by him mezzo-
tint portraits of Admiral Blake and James Naylor
the Quaker. Preston is said to have died in 1759.
PRETE GENOVESE, IL. See Galantini ; also
Steozzi.
PEETI, Gregobio, the brother of Mattia Preti.
There is a fresco by him in the church of S. Carlo
de' Catinari, at Rome.
PRETI, Cavaliere Mattia, called II Calabeese,
was born at Tavema in Calabria, or Ravenna, in
1613. After passing some time at Parma and
Modena he went to Rome, to work with one of his
brothers, Gregobio, and was for a short time a
scholar of Giovanni Lanfranco. The reputation
Guercino had acquired by the novelty and grandeur
of his style induced him to visit Cento, where he
studied under that master for several years. He
afterwards went to Venice and Bologna, where he
painted some pictures for the public edifices, by
which he acquired a considerable reputation. He
returned to Rome about the year 1657, where he
was employed to pairit three pictures for the
church of Sant' Andrea della Valle, representing
subjects from the Life ofHhat Saint. These, un-
fortunately for his fiime, were placed immediately
under the ' Four Evangelists,' painted by Domeni-
chino. His repute reached Malta, whither he was
invited by the grand master Cotoner, who com-
VOL. II, Y
missioned him to ornament the cathedral with
some frescoes, representing subjects from the life
of St. John the Baptist; for these works Pope
Urban VIII. conferred on him the knighthood of
the order. He afterwards passed some time at
Naples, where he painted some considerable works
in fresco, in the church of the Carthusians. Preti
was of a violent disposition, and was under the
continual necessity of shifting his quarters to avoid
the consequence of his quarrels. He usually chose
the most terrific and gloomy subjects ; and his
pictures, which are in the style of Caravaggio and
Ribera, frequently represent martyrdoms and scenes
of death, to which his sombre style of colouring
was particularly appropriate. Disgusted at the
admiration bestowed on the works of Luca Gior-
dano, he left Naples and returned to Malta, where
he died in 1699, his death being caused, it is said,
by a wound received from his barber. The paint-
ings from his hand are innumerable ; the following
list contains some of the more remarkable :
Florence. Vffizi. His own Portrait.
„ Academy. St. John the Evangeh'st.
Milan. Brera. Christ Blessing the Children.
Modena. Museum. Diogenes.
Naples. S. Pietro a ) Legend of St. Catharine —
Majella. J Frescoes.
„ Museum. The Return of the Prodigal.
Paris. Louvre. Martyrdom of St. Andrew.
Rome. iSt. Andrea dellalBcenes from the Life of St.
Valle. J Andrew — Frescoes.
„ Doria Pal. The Magdalene.
„ „ A Philosopher.
PRETO GALLO, II. See Guillaume, Le Fr^re.
PREU. See Peew.
PREVITALI. See Cobdellb Agi.
PRfiVOST, BenoIt Louis, a French engraver,
was born in Paris about the year 1735, and was
a pupil of Jean Ouvrier. He was a skilful en-
graver of vignettes, and the faithful interpreter of
Cochin, after whose designs he executed about
sixty pieces, including the fine frontispiece of the
' Encyclop6die,' 1770. He also engraved the vig-
nettes after Moreau for D^sormeaux's ' Histoire de
la Maison de Bourbon.' He died in 1804. The
following portraits also are by him :
Louis XV. ; medallion profile ; after Cochin. 1765.
Queen Marie Antoinette ; after the same. 1776. (His
chef d^eeuvre.)
Armand Thomas Hue, Marquis de Mirom&il ; after the
same. 1773.
Marquis de Marigny ; monumental medalUon. 1781.
Charles Nicolas Cochin, the younger, engraver ; small
medallion in head-piece of Jombert's ' Catalogue de
I'QEuvre de Cochin,' 1770 ; after Prevosfs own design.
The same; medallion; after himself . 1781.
Joseph Ignace Guillotin, physician ; after J. M. Moreau,
Voltaire walking in his Garden.
PRfiVOST, Jacques, a French historical painter,
born at Gray, in the department of Haute Sa6ne,
about 1546. He lived at Langres, where he painted
a picture of the death of the Virgin for the church
of St. Mamert. He was also an engraver.
PROVOST, Jean, a Flemish historical painter,
who settled at Bruges between 1493 and 1494. He
was a native of Mons, as we gather from his title
citizenship. He was a member of the Corporation
of St. Luke as early as 1500 and dean in 1519 and
1521. He was married three times. His first wife
died at Bruges, the other two were natives of that
town. By the tl)ird wife be had three children, one,
named Thomas Jean, was buried in the church of
St. Giles. Provost died in 1529. In the Academy of
Bruges there is a picture by him of ' The Last Judg-
321
Provost
A BIOGRAPHICAL DICTIONAEY OF
Primo
ment,' painted in 1525. Jennin Provost, who was
at work at Bruges as early as 1468, may possibly
be identical with Jean.
PRBVOST, Nicolas, (or Peovost,) was a native
of France, and ia mentioned by the Abbe de Ma-
roUes as a painter and scholar of Claude Vignon.
He flourished about the year 1666, and is said to
have etched six small plates. Dumesnil is of
opinion that he is the artist that painted the ' De-
collation of St. John,' for the church of Notre
Dame in Paris. He describes only one print by
him, a ' Holy Family,' signed N. Preuost Jn.
PREVOST, PiEREE, a painter of panoramas and
landscapes, was born at Montigny (Eure-et-Loir)
in 1764. In the first place he worked at Valen-
ciennes, but afterwards migrated to Paris. He
painted a number of easel pictures, landscapes, and
ruins, but his principal works were panoramas,
which he, perhaps, was the first to exhibit in France.
Among these were Paris, Naples, Amsterdam,
London, Antwerp, Athens, Jerusalem, and various
battles, in which he was assisted by Bouton and
Daguerre. In 1817 Prevost visited Greece and
Asia Minor with M. Forbin. He died in
1823. ^
PREVOST, ZAcCHfiE, an engraver, was born in
or about 1797, and became a pupil of Baron Eeg-
nault and of Bervio. The first large work exhibited
by him, which established his reputation, was
' Corinne,' after G6rard. About 1830 he com-
menced engraving in aquatint, executing several
plates after Leopold Robert and Delacroix. He
soon, however, returned to line-engraving, and
exhibited a large plate of the ' Maniage of Cana,'
from the great Paolo Veronese in the Louvre. For
this he was decorated. He died in 1861.
PBEW, JoRG, (Breu, or Pkeu,) was a painter
at Augsburg in the 16th century, an imitator of
Altdorfer. He was most likely identical with
" Georg Prew von Aue, 1501," as he signs himself
on a picture at Herzogenburg, in Austria. He
began to work in Augsburg about 1500, and died
there in 1536. The Munich Pinakothek contains a
' Battle of Zama ' by him. It is signed Jokg Peew,
and with a monogram as well. The arms of
Bavaria and the letters H.W. (Duke Wilhelm IV.)
also appear upon it.
PREWITT, William, an English miniature
painter of considerable merit in the middle of the
18th century. He was a pupil of Zincke, and prac-
tised in London. His works are in enamel and
brilliant in colour. There iS a good specimen of
his art in the Kensington Museum.
PREY, J. Z., a painter, was born at Prague in
1744. He worked at Pressburg, visited Dresden
and Frankfort, and in 1770 settled at Rotterdam.
He painted portraits and historical subjects, and
died at Bois-le-Duc in 1823.
PREZ, F. DES. See Despeez.
PEEZIADO. See Peeciado.
PEICKE, Robert. See Petke.
PRISM, Joseph, a German painter, born at
Illestissen in Bavaria in 1776. He was a pupil of
Kellerhoven, and painted landscapes and historical
subjects. He died in 1822.
PRIEST, Thomas, was an English landscape
painter, who resided at Chelsea about the year
1738. He chiefly painted views of the Thames,
and published a set of eight etchings of Chelsea,
Mortlake, and other places on the river.
PRIEUR, Romain Etienne Gabriel, a French
landscape and historical painter, born at Fert^
322
Gaucher, Seine et Marne. He was a pupil of V.
Bertin in landscape. He died in 1879. Works :
Metabus, King of the Volscians.
The Via Appia. (1836.)
Moses and the Daughters of Jethro.
Springs in the Forest of Fontainebleau. (1837.)
The "Walls of Eome.
The Approaching Storm.
Harvest.
The Eagle's Nest.
The Maroh6 aux Innocents.
Interlaken. (1866.)
Ships at Treport.
PRIBTO, Thomas Franoisoo, engraver, was
bom at Salamanca in 1716. He was a pupil of
Lorenzo Monteman y Cusens, and Director of the
Academy of San Fernando. His daughter Maria
DE LORETTO, a Spanish amateur engraver, was born
at Madrid in 1763. She was received an honorary
member of the Academy of San Fernando, and
died in 1772.
PRIMATICCIO, Francesco, was born at Bo-
logna in 1504. He was of good birth, and his
family, perceiving his strong inclination for art,
placed him first with Innocenzo da Imola, and
afterwards with Bagnaoavallo. Thence he migrated
to the studio of Giulio Romano, who had more
influence on his style than his earlier masters.
Primaticcio worked with Giulio at Mantua, in the
Palazza del T6. On the Duke of Mantua being
asked to recommend an artist to Francis I., he sent
him Primaticcio, who for a time collaborated with
II Rosso at Fontainebleau. A quarrel, arising,
however, Primaticcio was sent back to Italy to
collect works of art for the French King. During
his absence his rival died, and he succeeded to
the vacant post of Director of the Works at Fon-
tainebleau. In this office Primaticcio was suc-
cessively confirmed by Henry II., Francis II., and
Charles IX. He died in Paris in 1570. Much of
Primaticcio's work at Fontainebleau, (most of it,
however, actually painted by Niccolo dell' Abate
from his designs,) was destroyed in 1738, when
some structural alterations were made in the palace.
All that remains is the decoration of the guard
chamber, now called the "Salle de Madame
d'^^tampes," a, series of frescoes illustrating the
career of Alexander the Great, painted by Niccolo
after his master's designs, and variaus scenes from
classic mythology, painted by Primaticcio himselt
All these works have undergone much "restor-
ation," and now the art of their author is perhaps
to be best appreciated through the fine series of
his drawings in the Louvre. His easel pictures
are very rare. At Fontainebleau there is a full-
length nude figure of 'Diana,' and at Castle
Howard a fine ' Return of Ulysses.'
PRIMA VESI, JoHANN Geohq, painter and en-
graver, was born at Heidelberg in 1776. He drew
a series of landscapes illustrating the Rhine from
its source downwards. He became court-painter
at Heidelberg. Twelve etchings by him of ' Heidel-
berg Castle,' and some of views from Mannheim
and Baden, are extant. The date of his death is
not known.
PRIMI, Giovanni Battista, a marine and por-
trait painter, was a pupil of A. Tassi and a native
of Rome. He resided a long time at Genoa, where
he died in 1657.
PRIMISSER, Jdlie. See Mihes.
PRIMO, Luis, known as Gentile on account of
his gentle manners, was born at Brussels in 1606,
and went -when young to Rome, where he spent
Prina
PAINTERS AND ENGEAVBES.
Frocacciui
thirty years, and was in 1650 received into the
Academy of Saint Luke. He was employed hy
Pope Alexander VII., whose portrait he painted.
In the church of San Marco a painting exists by
him of ' St. Anthony,' and in the Oappuccini at
Pesaro there are a ' Nativity ' and ' St. Stephen.'
One of his best works is the ' Crucifixion,' in the
church of St. Michael at Ghent. Others are,
' Phoebus in the Chariot of the Sun ' (engraved
by Bloemaert), 'St. Raymond,' and 'S. Carlo
Borromeo healing the Plague-stricken.' Primo
painted many portraits, which are remarkable for
their finish. He died at Rome in 1668.
PRINA, Pier Francesco, a native of Novaro,
who is commended by Orlandi for his decorative
frescoes. He was living in 1718.
PRINCE, Le. See Leprince.
PRINBTTI, Constantino, landscape painter,
was bom at Canobbio in 1830. After studying at
the Milan Academy under Canella he travelled in
Germany, Holland, Paris, Normandy, England, and
Scotland. He died at Milan in 1855. Among his
paintings we may name :
The Brienzer See.
The Battle-field of Nafels ; engraved ly Salathi.
Dundas Castle.
The Thames and Houses of Parliament.
Street in Edinburgh.
Valsasina.
PRINS, B. M., a painter of landscapes and sea-
pieces, was living at Amsterdam about 1824.
PRINS, JoHANN HiJiBERT, a painter of views of
the interiors of cities, was born at the Hague in
1757. He was intended for the medical profession,
but his predilection for painting induced him to quit
his home and the university in order to avoid his
friends, who were strongly opposed to his inclin-
ation. He rambled, as an artist, through Brabant
and France, where he made numerous sketches and
drawings, with which, after two years' absence, he
returned to his own country. He visited Amster-
dam, Utrecht, and Leyden, and painted views in
each of those cities. The Dutch writers say he
painted in the manner of Berck-Heyden and Van
der Heyden, but his pictures resemble theirs only
in subject. His pictures, which are generally
small, are representations of the cities of Holland,
with landscapes and marine views. Besides oil
painting's, he executed numerous drawings, aqua-
relles, and etchings. He was drowned in a canal
at the Hague in 1806.
PRIOR, Thomas Abiel, an English line en-
graver, was born on November 5 th, 1809. He
practised the severest form of engraving in line,
and in that method interpreted Turner with rare
skill. He merits a place among what are called
' Turner's Engravers ' by the fact that he engraved
one plate during the painter's life, and under his
supervision, the 'Heidelberg.' He resided for
many years at Calais, where he was engaged as
drawing-master in one or two of the public colleges.
His plates were done in his spare time. He died
at Calais, November 8, 1886. The list of his plates
is not long :
'SeiielheTg; after Turner. (1846.)
Zurich ; ajfter the same. (1854.)
Apollo and the Sibyl ; after the same. (1873.)
The Golden Bough ; after the same.
Venice, the Dogana ; after the same. (1859.)
The Goddess of Discord ; after the same. (1860.)
Dido building Oarthage ; after the same. (1863.)
Heidelberg Castle in the olden Time; after the same.
(1861.)
Y 2
The Sun rising through Mist ; after the same (1874) ;
begun by Chapman.
Crossing the Bridge ; after Landseer.
The Fighting Temeraire ; after Turner. (1886.)
And three plates for ' The Turner Gallery.'
PRIWITZBR, JoHANN, was a Danish artist, who
visited England in the time of James I., and
probably had court favour, as it is said that he
painted the portraits of many of the nobility. The
only one, however, on record, is that at Wobum
Abbey, of Sir William Russell, in the robes of the
order of the Bath, and attended by a dwarf (dated
1627).
PROBST, JoHANN Balthazar, a German en-
graver, was born in 1673, and died in 1748. He
worked chiefly with the burin, in a neat, formal
style. Among other prints, he engraved several
of the plates after antique statues in the ' Dresden
Gallery.' We have also by him some prints after
Luca Giordano, Bernardino Poocetti, Rugendas,
and Ridinger. He also engraved several plates of
birds and beasts in the menagerie of Prince Eugene,
published in 1734.
PROCACCINI, Andrea, was bom at Eome, Jan.
14th, 1671, and was brought up in the school of
Carlo Maratti. He painted historical subjects in
the style of his master, and among his other
works in the public edifices at Rome, is his picture
of Daniel, in the series of the twelve prophets
painted by order of Clement XL, in San Giovanni
Laterano. He assisted the same pontiff with hia
advice on the establishment of his tapestry factory.
He was invited to the court of Spain, where he
resided fourteen years, and was appointed cabinet
painter to Philip V. He executed many im-
portant works in the palaces and churches of
Spain, but his smaller pictures are very few. He
etched gracefully, and in this branch of art there
are by him a half-length of ' San Vincente Ferrer,'
an 'Infant Bacchus,' 'Diana in the Chase,' 'Clelia
passing the Tiber,' the 'Supper at Emmaus,' and
' The Transfiguration ' (after Raphael) ; and other
pieces, after Carlo Maratti. He died at San Ilde-
fonso in 1734, and was buried with great pomp in
the convent of San Francisco de Segovia.
PROCACCINI, Camillo, the son of Ercole Pro-
caccini the elder, was born at Bologna in 1546, and
was first instructed by his father ; but he afterwards
visited Rome, where he particularly applied him-
self to studying the works of Raphael and Michel-
angelo. Correggio and Parmigiano were also the
objects of his imitation. Finding the presence of
the Carraoci an obstacle to his success at Bologna,
he removed to Milan, where most of his works are
to be met with. He died at that city in 1625.
Among the most remarkable of his pictutes are
those of the ' Martyrdom of St. Agnes,' painted in
fresco, in the sacristy of Milan cathedral ; a ' Ma-
donna and Child,' in Santa Maria del Carmine ; an
'Adoration of the Shepherds,' in the Brera ; and
the ceiling of the church of Padri Zoccolanti, repre-
senting the ' Assumption of the Virgin '—all in the
same city. But his best known performances are
his ' Last Judgment,' in the church of San Prospero
at Reggio ; and his ' St. Roch administering the
Sacrament to the Plague-stricken,' a really ad-
mirable work, to which Annibale Carracci paid
a tribute of admiration when he expressed his
reluctance to paint a companion picture to it, repre-
senting St. Roch distributing Alms to the Poor.
Procaccini was commissioned by the Duke of
Parma to execute some frescoes in the cathedral at
Piacenza, in competition with Lodovico Carracci,
323
Procaccini
A BIOGRAPHICAL DICTIONARY OP
Proctor
and accordingly he painted the ' Coronation of the
Virgin,' with a beautiful choir of angels. The Parma
Gallery possesses also a 'Plague' by him. In the
UiBzi there is a small ' Madonna and Child.' Of his
works at Bologna, the most important are the
' Adoration of the Shepherds,' in the church of San
rrancesco ; the ' Nativity,' now in the Pinacoteoa ;
the ' Crucifixion of St. Peter,' in San Petronio ; and
the ' Annunciation,' in S. Clemente. Camillo Pro-
caccini possessed a fertile invention, and great
facility of hand. His colour is fair, and his
draperies are cast with judgment and taste ; but
his facility often led him into extravagance and
mannerism. He has left several etchings, among
which are the following :
The Holy Family reposing, in which St. Joseph is repre-
sented lying on the ground, resting on the saddle of
the ass.
Another Holy Family, in which St. Joseph is presenting
an orange to the Infant. 1593.
The Virgin suckling the Infant, St. Joseph standing
behind her.
The Virgin and Child with St. Peter and St. Anthony.
Kie Transfiguration, of which there are two impressions ;
the second retouched by another hand, but in a very
able manner.
St. Francis receiving the Stigmata. 1593.
PROCACCINI, Carlo Antonio, the third son of
Ercole and the brother of Camillo and Giulio Cesare
Procaccini the elder, was born at Bologna about
the year 1555, and is said to have been instructed
in art by his father, though he practised a different
genre. He excelled in painting landscapes, flowers,
and fruit, and his pictures possessed sufSoient
merit to secure them a place in the best collections
in the Milanese. He was also much employed in
commissions for Spain.
PROCACCINI, Becole, the elder, was bom in
1520 at Bologna. His principal works are in
that city. The following are the most worthy
of notice : in the church of San Benedetto, a
picture of the ' Annunciation ; ' in San Giacomo
Maggiore, ' The Conversion of St. Paul,' and ' Christ
praying in the Garden ; ' in San Bernardo, ' St.
Michael discomfiting the rebel Angels ; ' and in St.
Stefano, a ' Deposition from the Cross.' Ercole
established an Academy at Milan, which became
the most celebrated of his time, and, besides his
own sons, turned out some of the most distin-
guished artists of the Milanese school. He died
after 1591. Other works :
Bologna. Gallery. A Pieta.
„ „ The Annunciation.
„ „ St Augustine and an Angel.
PROCACCINI, Eeoole, the younger, the son of
Carlo Antonio Procaccini, was born at Milan in
1596, and was educated in the school of his uncle
Giulio Cesare. He followed the style of his in-
structor, and painted several pictures for the public
edifices and private collections at Milan. One of
his best works is an altar-piece representing the
' Assumption of the Virgin,' in the church of Santa
Maria Maggiore at Bergamo. On the death of
Giulio Cesare, he became the director of the academy
established by the Procaccini, and died in 1676.
Other works :
Milan. Brera. The Crucifixion.
PROCACCINI, Giulio Cesare, the younger
brother of Camillo Procaccini, and son of Ercole
Procaccini the elder, was born at Bologna in 1548.
He was taught the rudiments of design by his
father, and for some time applied himself to the
324
study of sculpture, in which he had made some
progress, when the reputation his brother Camillo
had acquired as a painter induced him to change
the chisel for the pencil. He studied in Rome and
Venice, and appears to have formed his style upon
the principles of Correggio, whom in his smaller
cabinet pictures he sometimes successfully imi-
tated. At Rome, where he passed some time,
the productions of Raphael were particularly the
objects of his attention. In 1618 he was invited to
Genoa, where he worked in the ducal palace. He
died at Milan about 1626. An etching repre-
senting the Virgin with the Infant Jesus, has been
attributed to him, but doubtfully. Of his principal
extant paintings we may note :
Dresden. Gallery. Virgin and Child.
„ „ St. Eoch curing the Plague-
stricken.
Edinburgh. Nal. Gall. A Dead Christ, with the Mag-
dalen and Angels.
Florence. Uffizi. His own Portrait.
Genoa. Ducal Pal. Adam and Eve driven from
Paradise.
„ Briijnola Pal. Holy Family.
„ „ Charity.
„ ■ Doria Pal. The Dead Christ,
Milan. S. Antonio. The Annunciation.
„ Amhrosiana. His own Portrait.
„ Brera Mus. Adoration of the Magi.
„ „ Virgin, St. Ambrose, and St.
Charles.
„ „ The Magdalen.
„ ,, St. Ceciha.
Modena. Museum. The Circumrasion. (Colossal
Composition.)
Paris. Louvre. Holy Family.
Petersburg. Hermitage. A Madonna.
„ „ Marriage of St. Catharine.
Toulouse. Museum. Marriage of St. Catharine.
Turin. Museum. Virgin adored by SS. Cecilia .
and George.
PROCTOR, Thomas, an English historical painter,
born at Settle (Yorks.), April 22, 1753. His parents
were in humble circumstances, and for some years
he had to devote himself to uncongenial occupations
in Manchester and London. But the love of art at
length prevailed, and he entered the schools of the
Academy in 1777. His student career was emin-
ently honourable, culminating in 1784 with the
gold medal for his picture of the ' Tempest.' He
also devoted himself to modelling with such suc-
cess that he ranks high among English sculptors.
In 1785 he exhibited a statue of Ixion, which
was bought by Sir Abraham Hume. He then
produced a group of 'Diomed devoured byhis
Horses,' which, failing to sell it, he destroyed in a
fit of despondency. The first pictures he sent to
the Academy, in 1780-3, had been portraits, and in
1789 he again returned to that genre. In 1794
he was elected to the travelling studentship of the
Academy, but could not be found, as for some
years he had sent no address with his contributions
to the Exhibition. West, however, tracked him
out, and found him living on bread and water in
an attic in Clare Market. Hopes of prosperity had
come too late, and a few days later he was found
dead in his bed. He was in his forty-first year,
and was buried in Hampstead churchyard. Works :
Elisha and the Shunammite's Son. 1790.
The Restoration of Day after the fall of Phaeton.
1790.
Hannah refusing to accompamy her Spouse to the
Sacrifice. 1791.
The Final Separation of Jason and Medea 1793.
Venus approaching Cyprus. 1794.
Frofondavalle
PAINTERS AND ENGEAVEES.
ProTJ
FROFONDAVALLE, Valeeio, an historical
painter, born at Louvain in 1533. He lived for
some time at Florence, and afterwards settled at
Milan. His daughter Prudenzia painted still-life
and historical subjects. Their real name was Die-
pendale, and they belonged to a famous glass-
painting family in Louvain of the 15th and 16th
centuries.
PEONCK, CoRNELis, was born at Amsterdam in
1691, and was taught drawing by P. van Houten,
and painting by Arnold van Boonen. He became
a good portrait painter, and had much employment;
but he preferred making views of cities and land-
scapes, in Indian ink and in water-colours. Many
of his drawings, however, are after other Dutch
masters. He died in 1769.
PEONTI, Padre Cesare, originally Bacciocchi,
was bom at Rimini in 1626, and was brought up at
Bologna, under Guercino. He was commonly called
Padeb Cesakb da Ravekna. He painted historical
subjects, and was much employed for the churches
at Bimini and Ravenna. At an early period of his
life he became a monk of the order of St. Augustine,
and was afterwards principally engaged in painting
altar-pieces for the churches of his fraternity, of
which one of the best is a picture of St. Tom-
maso da Villanova, at the Augustines at Pesaro,
which he embellished with a background of admir-
able architecture. He died at Eavenna in 1708.
PEOSPBTTIVE, Dalle. See Aqostino, also
Paltronieri.
PROTOGENBS, one of the most illustrious of
ancient Greek painters, wasa native of either Caunus
or Camirus, both cities of Caria. His life as an
artist was, however, spent at Rhodes, which he only
once quitted on a visit to Athens. He flourished
between 330 and 300 B.C. It is not known of whom
he was a disciple, fcut it is probable that he received
liis instruction from some obscure artist, or that
he formed his style by a general study of the
painters who had preceded him. It is certain that
for some time he practised ship-painting for a live-
lihood, that the early part of his life was passed in
indigence and obscurity, and, that he was consider-
ably advanced in years before he became known
as an artist. One of his principal pictures, which
has been celebrated by several writers, repre-
sented the hunter lalysus with his Dog ; it was
long preserved in the Temple of Peace at Eome.
A singular story is told- of the production of this
painting. Protogenes was engaged upon it for
seven years, during which he lived wholly upon
lupins and water, hoping thereby to give his fancy
freer powers^ But at the last he found himself
wholly unable to produce the appearance of froth
in the dog's mouth, and after many unsatisfactory
attempts he threw his sponge upon the canvas in
a fit of vexation. He had aimed it exactly at the
mouth of the animal, and the stroke produced the
very effect which he had been seeking so long in
vain. A much greater interest attaches to this
picture in the fact that it was the means of saving
a portion of the city of Ehodes from destruction,
and delaying the capture of the whole, when it was
besieged (b.c. 305) by Demetrius Polioroetes, who,
finding that the only ready means of mastering the
place consisted in setting fire to that side on which
was the house of Protogenes, chose rather to pro-
tract the siege indefinitely than to destroy such a
work of art. The atelier of Protogenes was situ-
ated without the walls of the city, where, to the
astonishment of the besiegers, he continued to
pamt with the most perfect tranquillity and indiffer-
ence. This circumstance being made known to
Demetrius, he ordered the artist to be brought to
his tent, when he demanded how he could persist
in the quiet exercise of his profession when sur-
rounded by the enemies of his country. Protogenes
replied, that he did not consider himself to be in
any danger, as he was convinced that a great
prince like Demetrius did not wage war against
the arts, but against the Ehodians.
It was during these hostilities that he painted
his famous picture of a Satyr playing on a Flageo-
let. _ Into this he introduced a partridge, wliioh he
depicted so accurately that some live partridges on
being placed near it showed themselves deceived
by the resemblance ; but Protogenes, not wishing
to be regarded as a mere mechanical imitator, and
observing that the presence of the partridge blinded
the spectators to everything else, obliterated it
from the painting altogether. Another admired
work of Protogenes was a subject taken from the
' Odyssey,' representing Nausicaa driving a chariot
drawn by mules. A fourth was in the Propylsea
of the Athenian Acropolis, and represented the
sacred ships ' Paralus ' and 'Ammonias.' Pliny
mentions some others, but the length of time de-
voted by Protogenes to each prevented the number
from being large. His great contemporary Apelles
found the one fault in him that he " did not know
how to let his pictures alone."
_ The association of these two masters gave
rise to more than one* interesting episode. Not-
withstanding the distinguished talents of Pro-
togenes, his fellow-citizens were either insensible
to his merit, or were more than usually parsimoni-
ous in remunerating him. He continued to live in
extreme poverty, until the generosity of Apelles
roused the Rhodians from the indifference they had
shown to his talents. When that painter visited
Ehodes, he was struck with admiration on seeing
the works of Protogenes. He demanded what
price he put upon his pictures, and the painter of
Rhodes having named an inconsiderable sum,
Apelles, indignant at the injustice, offered him fifty
talents for each of his works, publicly announcing
that he could sell them again as his own at a profit.
This liberality opened the eyes of the Rhodians]
who now gladly gave the painter a higher sum
than Apelles had offered, rather than have their
city deprived of what they had at length learned
to appreciate.
When Apelles first landed at Rhodes on the
occasion of the above interview, he called at the
house of Protogenes, but found him from home.
Instead of leaving his name with the servant he
drew with a brush an extremely fine hue on a
panel that lay before him. This being shown to
Protogenes on his return, he declared that it must
have been Apelles who had called upon him, and
taking a brush with a different colour, he drew a
still finer line upon the first line itself, desiring
that this might be shown to his visitor upon his
second call. When this took place, Apelles with a
third colour drew a yet finer line upon this second
one, and Protogenes upon seeing this was compelled
to declare that the attenuating process could go no
further I
PROU, Jacques, a - French painter and engraver,
was born in Paris ahotit the year 1639, or, accord-
ing to others, at Troyes, in 1624, and died at the
end of the same century. He was a scholar of
Sebastien Bourdon, and painted landscapes in the
" 325
Proud
A BIOGRAPHICAL DICTIONARY OP
Prud'hon
style of that master. Of his works as an engraver,
the following are the most worthy of notice :
A set of twelve Landscapes and Views ; after his own
A set of six large Landscapes ; after Seh. Bourdon.
The Baptism of Christ by St. John ; after the same.
The Flight into Egypt ; after Agost. Carracci.
PROUD, , an obscure engraver, whom
Strutt mentions as having resided in England
about the year 1760. He engraved a few plates
for books and portraits, among which was that of
Sarah Philips, prefixed to ' The Lady's Handmaid.'
1758.
PROUT, J. Skinner, nephew of Samuel Prout,
was born at Plymouth in 1806. He practised
chiefly in water-colours, and was a member of the
Institute, but was chiefly self-taught. He published
'Antiquities of Chester,' and 'Castles and Abbeys
of Monmouthshire ' in 1838. He also visited Aus-
tralia, and resided for some time in Sydney and
Hobart Town. On his return he lived for many
years in Bristol, and published a work on the an-
tiquities of that town. The sketches for this were
made in company with W. Muller, with whom he
formed a close friendship. He afterwards came to
London, where he died August 29, 1876.
PROUT, Samuel, was born in Plymouth about
1784, and educated at the Grammar School. When
quite a child he had a sunstroke, which affected his
health for the rest of his life. He accompanied
John Britton into Cornwall in 1801, and he after-
wards went to reside witlt him in Clerkenwell,
during which time he was employed by the chief
topographical draftsman of the day. In 1805 he
returned home, but returned to London in 1812.
He exhibited occasionally at the Academy and
British Institution from 1803 to 1827. In 1820 he
was elected a member of the Water-Colour Society.
In 1818 he visited the Continent, and became famous
as the painter of foreign Cathedrals and Market-
places. In 1824 he visited Italy, and fac-similes
of the sketches of his travels were published in
1839. He contributed to the Annuals, and for
Ackermann he undertook drawing-books for
learners. Prout died in Camberwell February 10,
1852. Works :
London. S. Kensi^^ion^^^^^^^^^^^^^^^^
„ „ Arch of Constantino, Borne.
„ „ Porch of Batisbon Cathedral.
„ „ Wuizburg.
„ „ Castle on a Becky Shore.
„ „ Old House near Tunbridge.
„ „ Cottage near St. Michael's
Mount.
„ ,, The Beach, Hastings.
„ „ The Zwinger, Drsden.
„ „ Temple of Minerva Medica,
„ „ Borne.
„ „ Beach at Folkestone.
A collection of Prout's drawings was exhibited at
the Pine Art Society's Galleries in 1879-1880, and
notes upon it written by J. Buskin.
PROVENgAL, Joseph, a French historical
painter, born in Lorraine. He was a pupil of
CI. Charles and painted several frescoes in the
churches of Nancy. He flourished about 1679.
PROVENCE, a German historical painter, who
studied in Italy and afterwards settled in Berlin.
He died in 1701.
PROVENZALE, Maecello, was born at Cento
in 1575. He was a scholar of Paolo Rossetti, but is
chiefly distinguished for his talents as a mosaicist.
Baglione describes several of his works at RonSe,
326
executed under the direction of Paul V., among
which is the portrait of that pontiif, now in the
Borghese Palace. In conjunction with Rossetti,
he executed several mosaics in the Capella Clemen-
tina, in St. Peter's, from the cartoons of Cavaliere
Cristofano Roncalli ; and for the Cardinal Scipione
Borghese he finished some smaller works, among
which is ' Orpheus playing on the Lyre, surrounded
by animals.' He died at Rome in 1639.
PROVENZALI, Stefano, a native of Cento and
a pupil of Giiercino. Crespi extols his battle-pieces.
PROVOST, Nicolas. See Pe^vost.
PRUCKER. See Peugger.
PRUD'HOMME, Antonib Daniel, a Dutch
amateur, bom at Zwolle in 1745. He at first
entered on a commercial career, but after a voyage
to Demerara he settled at Antwerp, and devoted
himself to art. He painted landscapes, sea-pieces,
and portraits. He died in 1826.
PRUD'HON, Pierre, a French historical and
portrait painter, born at Cluny (Sa$ne et Loire) in
1758. He was the thirteenth child of a stonemason,
who died soon after his birth. His mother had a
great affection for him, but her narrow means were
insufficient to provide for his education, which was
due to the charity of the monks at the Abbey of
Cluny. The pictures which decorated the walls
of the monastery early developed his taste for art.
The fruits of this were first seen in his exercise-
books, which he covered with sketches. Unaided,
he taught himself the elements of oil-painting with
the very humble materials which lay within his
reach. At the critical age of sixteen, when his
schooling was completed, he was fortunate enough
to find a friend in the Bishop of Macon, who placed
him in the Academy of Dijon. Here his progress
was satisfactory, and his future seemed full of
promise, when he contracted an imprudent mar-
riage at the early age of nineteen. To continue
his studies, he migrated to Paris in 1780, and re-
ceived some assistance from an engraver named
Wille. The great object of his ambition was to
study in Italy, and to enable him to do this, he
competed in 1782 for a triennial prize founded by
the estates of Burgundy. Concerning this com-
petition there is an interesting little story, showing
the painter's kindliness of disposition. One of the
competitors was overwhelmed with grief at being
unable to finish his composition. By the assistance
of Prud'hon he was enabled to complete it, and
with such success that he was awarded the prize.
Not to be outdone in generosity, he confessed the
help which he had received, and the prize was
adjudged to Prud'hon. During his sojourn at
Rome, he diligently made use of his opportunities,
and studied closely the masterpieces of Raphael,
Correggio, and Leonardo da Vinci. He made the
acquaintance of Canova, and the two artists formed
a close friendship. Resisting the sculptor's en-
treaties to stay with him at Rome, Prud|hon
returned to Paris in 1789. His wife now rejoined
him, and for several years he had an uphill fight to
supply the wants of an increasing family. Un-
known to fame, he drew book-illustrations, portraits,
headings for letters and concert-bills, and even
designs to ornament the lids of sweetmeat-boxes.
Whatever came he was glad to accept, so as to
keep the wolf from the door of his comfortless
home. So little prospect of success did he appear
to have in the capital that in 1794 he spent two
years in Pranche Comt6, painting portraits. Here
he made the acquaintance of his fellow-countryman,
M. Prochot, who afterwards, as Prefect of the
Prugger
PAINTERS AND ENGRAVERS.
Fuellacher
Seine, becarae his warm patron. On his return to
Paris, he executed, some admirable designs for the
publisher Didot, and his reputation gradually in-
creased. The assignment to him of apartments in
the Louvre, just before the close of the century, to
execute the painting of 'Truth descending from
Heaven,' for the design of which he had won a prize,
marks that his position was at length assured.
Cut off by his unfortunate marriage from home
comforts, he found consolation in a liaison with a
pupil named Constance Mayer. He was intro-
duced to her by a friend in 1803, when she was
seeking for a master to replace Greuze. The
tardy recognition of Prud'hon's merits secured
him a fair share in the public commissions.
The chief of these were a ceiling at the Louvre,
' Diana imploring Jupiter,' and the well-known
'Divine Justice pursuing Crime,' OTiginally ordered
by his friend Prochot for the Palais de Justice.
For the latter work, exhibited in 1808, he received
the Legion of Honour, and in 1816 was elected a
member of the Institute. In 1821, he suffered a
severe shock from the death of Mademoiselle
Mayer by her own hand. His health gave way,
and he died in Paris in 1823, in the arms of his
friend, M. Le Boisfremont.
Prud'hon forms an interesting figure in the
history of French art. His pictures have a grace
and tenderness which is wanting in the works of
all his contemporaries. This he ascribed to his
study of Leonardo, whom he was accustomed to call
his master and his hero. He is seen at his best,
perhaps, in his smaller and less ambitious pro-
ductions, such as his 'Zephyr,' where he has de-
parted most from the historic style, and allowed
freer scope to his poetic imagination.
The following is a list of Prud'hon's pictures in
the public galleries of Europe :
Angers. Museum. The Two Souls.
Cherbourg. Museum. The Assumption. Unfinished
repetition of Louvre ^}icture.
Dijon. Museum. Three Portraits.
„ „ Various Sketches.
„ jSalle des Statues. Ceiling.
Dublin. Nat. Qallery. Cupid chastised.
Montpellier. Museum. Allegory of the Arts and
Sciences. Sketch.
Orleans. Museum. Portrait of Abb6 Barbier.
Paris. Louvre. Justice pursuing crime. 1808.
„ „ The Assumption. 1819.
„ ,, The Crucifixion. 1822.
„ „ Minerva.
„ „ Interview of Napoleon and
Francis II. after Austerlitz.
„ „ Four Portraits.
Quimper. Museum. Portrait of Mad. Steward.
BIBLIOGRAPHY.
Qimtremere de Quinty, ' Discours prouonce sur la Tombe
de Prud'hon.' 1823.
Voiart, ' Notice historique sur la vie et les ouvrages de
Prud'hon.' 1824.
E. Delacroix, in the ' Eevue des Deux Mondes,' Nov.
1846.
aement, C, ' Prud'hon.' 1872.
Blanc, Ch., ' Histoire des peintres fran(;ais.'
Goncourt, E. and J. de, ' Prud'hon.' 1861.
„ „ ' L'Art du xis siecle.' 1882.
OJ.D.
PRUGGER, NiCLAS, (Prtjckbr, or Bruckbe,) a
painter of Munich in the 17th century, who died
there in 1694. He was the son of a peasant of
Trudering, near that city, and was educated by the
help of the Electress Maria Anna, and trained in
art by that of the Elector Maximilian I. of Bavaria,
whose successor, Ferdinand Maria, appointed him
his court-painter. The Pinakothek contains a por-
trait of the former Elector by him, together with a
male portrait of 1664 ; and there also exist by him
seven portraits of the above Electress on copper-
plates the size of a groschen.
PRUNATI, Santo, an historical painter, born at
Verona in 1656. He was a pupil of Voltolino and
Falcieri at Verona, and of Loth at Venice. He
also visited Bologna. There is a ' San Francesco di
Sales ' by him at the cathedral at Verona. His son,
Michelangelo Prunati, was his pupil and painted
in the same style.
PRUNEAU, Noel, a French engraver, was born
in Paris in 1751. He was a pupil of Augustin de
St. Aubin, in whose style he has engraved several
plates, chiefly portraits, among which we may
name the following :
Bosalia le Yasseur ; t^ter his own design.
Herman Boerhave ; the same.
Albert de HaJler ; the same.
Gerard, Baion van Swieten, Architect ; after A. de St.
Auiin.
Jean Joseph Sue; after A. de Pujol.
Francois de la Peyronie, principal surgeon to Louis XV.
PRYKE, Robert, an English engraver, who
studied under Hollar. He practised after the
Restoration, and in 1675 published an edition of
Pierre Le Muet's ' Architecture.'
PUBLIAN, Johann Gottfried, a German
architectural painter of little merit, born at Meissen
in 1809. He died at Diisseldorf in 1875.
PUCCINI, BlAGlo, an obscure painter, who
flourished at Rome in the reigns of Clement XI.
and Benedict XIII.
PUCCIO D'ORVIETO, Pieteo di, is entitled to
notice for the reason that his works on the north
wall of the Campo Santo of Pisa are believed to be
the earliest examples of fresco-painting, properly
so called. They represent the ' First Person of the
Trinity ; ' 'The Creation of Man ; ' 'The Pall of
Man and its consequences ; ' the ' Death of Abel ; '
the 'Death of Cain;' and 'The Deluge.' A
' Coronation of the Virgin ', over the door of the
second chpael, is also by him . These pictures dis-
play grandeur of conception and design, and a rare
harmony of colouring. The series was continued,
as far as the Visit of the Queen of Sheba, by
Benozzo Gozzoli. Puccio painted in the later years
of the 14th century. (See E. Forster, ' Beitrage,'
p. 220.)
PUCHLER, JoHANN Michel, an engraver of
whom very little is known, worked in a peculiar
manner, towards the end of the 17th century. He
engraved portraits with the point, the hair and
habits are formed of writing. In this fashion he
engraved a portrait of Martin Luther and his wife,
after Cranach. It is signed Mich. Puchler fecit.
Van Stettin speaks of a Jan Gregoire Biiehler,
a writing-master, who worked in this manner about
the year 1692, and BruUiot conjectures that the
two are identical.
PUCHNER, Melchior, was a painter of Ingol-
stadt, who produced several altar-pieces and other
devotional pictures for the churches, and died in
1760.
PUDISS. See Pauditz.
PUBLLACHER, Leopold, was born at Telfs
in the Tyrol in 1776, and, studied for a scene
painter at Vienna under Gassner and Platzer.
He painted scenes for Count Karolyi, and was in
1815 made court theatrical painter at Innspruck.
He also executed several wall-paintings for Tyrolese
churches, Puellacher was still alive in 1830.
327
Puga
A BIOGRAPHICAL DICTIONARY OP
PuUgo
PUGrA, Antonio, a Spanish painter of familiar
subjects, was a scholar of Velazquez, whose early
manner he imitated cleverly. He flourished about
1650-60. In the Hermitage there is .a ' Knife-
Grinder ' by him.
PUGET, FRANgois, painter and architect, the
son of Pierre Puget. He studied first under his
father, afterwards with Laurent Pauchier, a clever
portrait painter, whose style he followed so closely
as to render their works almost indistinguishable.
He executed several historical works and religious
pictures for the churches. According to a letter
written on January 10, 1763, by his son Pierre
Paul Puget, many of the pictures ascribed to
Pierre Puget, the sculptor, are by his son Francois.
In 1683 Francois carried his father's group 'Milo
of Crotona,' to the king at Versailles, and, in 1685,
his ' Andromeda.' He died in 1707. Works :
The Calling of Matthew and other pictures in the
Chapel at Chateau Gomber.
Portrait of the sculptor, Pierre Puget. (Louvre.)
Portrait Group of eight Musicians and Artists. (Tlie
same.)
PUGET, PiEEEE, (or PujET,) painter, sculptor,
architect, and engineer, was born at Chateau Pollet,
near Marseilles, October 31, 1622. At the age of
seventeen he went to Italy on foot, working his
way along the road. He visited Florence and Rome,
assisted by Cortona ; he painted a ceiling in the
Barberini Palace, and in the Pitti Palace at Florence,
and returned to Marseilles in 1643. There he
painted a portrait of his mother, and after a second
journey to Italy, painted many works for his native
city, and for Aix, Toulon, Cuers, and Ciotat. In 1655,
being attacked by a severe malady, he was forced
to give up painting, and henceforth devoted him-
self to sculpture. He visited Paris in 1659, le.iving
it after a six months' sojourn, disgusted with the
court intrigue which had marred his arrangement
for an equestrian statue of Louis XIV. He next
spent six or seven years at Genoa, and then a
second term at Toulon, finally settling in his
native Marseilles, where he died in 1694. The por-
trait of himself at an advanced age in the Louvre,
is by his son, Franjois. An ' Annunciation ' of
graceful design but somewhat cold colouring is in
the cathedral of Aix, and many of his pictures are
at Marseilles and in its neighbourhood.
PUGH, Charles, an English landscape painter
in water-colours, of the early tinted school, who
exhibited at the Academy from 1797 to 1803. His
subjects were mostly views in Wales and the Isle
of Wight.
PUGH, Edward, an English miniature painter
and landscape draughtsman, was born in the second
half of the 18th century. His works appeared at
the Academy from 1 793 to 1 808. He died at Ruthin
in 1813. The illustrations in the following works
are by him :
Modern London.
Cambria depicta.
1805.
1816.
PUGH, Herbert, a landscape painter and
native of Ireland, who came to London about the
year 1758, received a premium from the Society of
Arts in 1765. He painted a few pictures also in
which he attempted to imitate the style of Hogarth,
but they were very indifferent performances. They
were engraved by Goldar. There was a large
landscape by him in the Lock Hospital. He was
an intemperate man, and died comparatively young
about the year 1789.
328
PUGIN, AiiGUSTUS, architectural draughtsman,
was born in France in 1762. On account of a duel
he fled to England, when young, and had to suffer
much hardship through his ignorance of English,
until he met with a friend in a French artist called
Merigot, then settled in London. Towards the end of
the century, he entered the schools of the Academy
where he exhibited from 1799. For many years he
worked with Nash, the architect, and subsequently
was engaged on the publications o,f Ackermann.
He added the architectural backgrounds to Row-
landson's figures. His architectural drawings exer-
cised an important influence in the revival of the
Gothic style in this country. He made the draw-
ings for the histories of Oxford, Cambridge, and
Westminster Abbey. In 1821, he published his
' Specimens of Gothic Architecture,' which marked
an epoch. He occasionally practised, too, as an
architect, and trained some eminent pupils, and
was the father of Augustus Welby Pugin. He
married an English wife, and lived many years in
Great Russell Street, Bloomsbury, where he died in
London in 1832. There are four of his water-colour
drawings in the Kensington Museum. 'The prin-
cipal publications on which he was engaged are :
Specimens of Gothic Architecture. 1821.
Architectural Antiquities of Normandy.
Paris and its Environs. 1831.
Gothic Ornaments. 1844.
Examples of Gothic Architecture. 1830.
Ornamental Timber Gables.
PUGIN,_ Adgustds Welby, demands mention
here by his work as a draughtsman and scene
painter, in which capacity he worked for some
time in early youth. He was born in London on
March 1, 1812, and died at Ramsgate on September
14, 1852. His career as an architect and architec-
tural draughtsman has been described by his friend,
Benjamin Ferrey, in a ' Life,' published in 1861.
PUGLIA, Giuseppe, called Giuseppe del Bas-
TABO, was a native of Rome, and, according to
Baglioni, flourished from 1600, and chiefly during
the pontificate of Urban VIII. There are several
of his works in the churches at Rome, of which
the most deserving of notice are 'The Present-
ation in the Temple,' in the cloister of the Padri
della Minerva ; and an altar-piece in the church of
Santa Maria Maggiore, representing ' The Assump-
tion of the Virgin.' In the church of San Girolanio
there are a ' Descent from the Cross,' and a ' Death
of St. Jerome.' Bastaro died at Rome in 1640.
PU6LIC0CHI, Antonio, a native of Florence,
and pupil successively of Pietro Dandini and Giro
Fern.
PUIS, Du. See Dupuis.
PUJET. See Puget.
PUJOL, Alex. D. See Abel de Pujol.
PULIAN, JoHANN Gottfried, was born at
Meissen in 1809, and was a landscape and archi-
tectural painter. In 1837 he began to attend the
Academy at Dusseldorf, in which city he died in
1875. His best productions are picturesque sketches
from the old towns of Belgium and the Rhine.
Among them we may name :
The City Gate of Neuss. 1840.
Schwalbach, on the ithine.
Various Views in Bachaiach, on the Ehine.
The Cathedral of Limburg.
St. Nicholas' Church at Ghent.
Canal in Mechlin.
Castle-Elz.
PULIGO, DoMENico, was a painter of Florence,
born in 1475, and brought up in the school of
Fuligo
PAINTERS AND ENGRAVERS.
Pye
Domenico Bigordi, called Ghirlandaio. On the
death of that master, in 1498, when he was twenty
years of age, it does not appear that he made choice
of another instructor, but he acquired considerable
reputation as a portrait painter, and by some easel
pictures representing Madonnas and Holy Families,
some of which are in the Borghese and Colonna
Palaces at Rome, and the Pitti at Florence. He
formed an intimate acquaintance with Andrea del
Sarto, and though several years older than that
painter, he improved his style by a study of his
works. He is stated to have worked also with
Ridolfo Ghirlandaio. Puligo died in 1527. Works :
Florence.
Pitti Gal.
Five Holy Families
Fanshanger.
A Portrait.
Madrid.
Museum.
A Holy Family.
PULIGO, Jaconb, the brother of Domenico
Puligo, was also a scholar and assistant of Andrea
del Sarto. He was a very inferior painter.
PDLZONE, £oiPiONE, called Gabtano, was born
at Gaeta in 1550, or, as Zani states, 1562, and was a
disciple of Jacopo del Conte. He painted historical
subjects, but more especially portraits, and drew
those of the most illustrious persons of his time ;
among whom were Gregory XIII., Cardinal
de' Medici, and the Archduke Ferdinand. Lanzi
asserts that he was called ' The Roman Van Dyck,'
but this cannot have been during his life-time, as
he died several years before Van Dyok was born.
Of his historical works, the most deserving of
notice are, his picture of the ' Assumption, with
the Apostles,' in San Silvestro, on Monte Cavallo ;
a Piet^, in the Jesuits' church ; and a ' Crucifixion,'
in Santa Maria, in Vallicella. In the Palazzo
Borghese there is a fine ' Holy Family ' by him.
He died at Rome in the prime of life, in 1588, or,
according to Zani, in 1600. Besides the above
works we may name :
Florence. Pitti Gal. Portrait of Eleonora de'
Medici, wife of Vinoenzo
I., Duke of Mantua.
„ „ Portrait of Marie de' Medici.
„ „ Three portraits of Principes.
„ „ Portrait of Ferdiuaudo I. de'
Medici.
„ Uffizi. Christ in the Garden,
Madrid. Museo. Male portrait.
PUNT, Jan, a Dutch engraver, was born in
1711, and died about 1779. He was a theatrical
scene painter, and painter in chiaroscuro. His
principal plates were a set of thirty-six, after the
drawings made by Jacob de Wit from the paint-
ings by Rubens on the ceiling of the church of
the Jesuits, at Antwerp, which were destroyed by
lightning. He also engraved a plate of the ' As-
cension,' after Seb. Ricci,for the ' Dresden Gallery; '
and many other subjects, of which Nagler has given
a list.
PUNTORMO. See CAEnncci.
PQPILER, Antoine, is stated to have been a
Flemish painter of extraordinary merit, who was
employed in Spain by Philip II. in 1556, but all of
whose works were consumed in the conflagration
at the Pardo.
PUPINI, BlAGlo, was a native of Bologna, and
flourished from about 1530 to 1540. He was a
disciple of Francesco Francia, whose style he fol-
lowed at a respectful distance. He also imitated
Raphael. Of his works in the public edifices at
Bologna, the following are the most worthy of
notice : In the church of S. Giuliano, ' The Crown-
ing of the Virgin ; ' in S. Giacomo Maggiore, ' The
Virgin and Infant Christ, with S. Orsola ; ' in S.
Maria della Baronoella, ' St. John preaching in the
Wilderness ; ' and in the Pinacoteca, a ' Nativity,'
with the Virgin, St. Joseph, and Angels adoring
the Infant Christ.
PURCELL, Richard, who passed by the name
of C. CoBBUTT, was a mezzotint engraver, bom in
Ireland about the year 1736. He studied under
John Brooks at Dublin, where he practised for a
while, engraving 'Jenny Cameron,' 'The Jewish
Bride,' 'William at the Siege of Namur,' &c. Some '
of his plates are mere copies from those of other
engravers. In later years on he came to London,
where he engraved after Reynolds, Coker, Ramsay,
Frye, and other well-known painters. The true
reason for his use of a pseudonym can only be
guessed, but he was dissolute, even depraved, in his
life. He died in misery about 1765. Of his plates
the following, perhaps, are the most worthy of
notice ;
John Manners, Marquis of Grauby ; after Reynolds.
Lady Fenhoulet, afterwards Oouutess of Essex ; after
the same.
Elizabeth, Countess of Berkeley ; after the same.
Lady Charlotte Jobnstone ; after the same.
Garriok between Tragedy and Comedy ; after the same.
The Children of Charles I. ; after Van Dyck.
John "Wilkes, Esq. ; after Pine.
Major-General James "Wolfe.
Fran9ois Arouet de "Voltaire.
Jean Jacques Rousseau.
"William Komaine ; after F. Cotes.
Paoli ; after Constantine.
Anne Bastard, of Kitely, in Devonshire.
A Flemish Conversation ; after Brouwer.
The old Eabbi ; after Bembrandt.
Two subjects after J, Vemet.
PUSCHNER, JoHANN Georg, was a German en-
graver, supposed to have been a native of Nurem-
berg. He flourished from 1670 till 1720, and
engraved a set of portraits for a folio volume,
entitled 'Icones virorum omnium ordinum eru-
ditione,' &c., published at Nuremberg.
PUYOL (Pujol). See Abel db Pdjol.
PYE, Charles, an English engraver, born in 1777.
There is a ' Holy Family,' after M. Angelo, by him,
and specimens of his work will also be found in
Dibdin's 'Tour.' He published a work on coins
and tokens.
PYE, John, the elder, an English engraver and
painter, was born in 1745. He was a pupil of
Major, and gained a Society of Arts' pension in 1758.
From 1780 onwards he was a constant exhibitor
of water-colour views at the Royal Academy. He
was employed by Boydell as an engraver, and
worked in both the line and dot manners, and also
etched. The date of his death is not recorded.
We have by him a ' Tobit and the Angel,' after
Karel du Jardin, and a ' Holy Family,' after Poe-
lemberg ; also several landscapes, after Claude
Lorrain, Vemet, Swanevelt, Cuyp, &o., which are
etched and neatly finished with the graver.
PYE, John, an English engraver, born at Bir-
mingham April 22, 1782. In his early years he
was entirely self-taught, until he came to London
about 1802, and worked under James Heath, in
whose workshop he had an opportunity of making
friends with many of those men who made English
engraving famous in the early years of the century.
He soon obtained a reputation for his rendering of
landscapes, especially those of Turner. In 1811
he engraved ' Pope's Villa,' after that master, with
the figures by C. Heath. This so pleased Turner
that he engaged Pye to engrave his ' Temple of
329
Pye
A BIOGRAPHICAL DICTIONARY OP
Pyreiciis
Jupiter, at ^gina.' With this plate he was very
successful, and from its publication his repute was
established. Many important works were intrusted
to him, and while still comparatively young, he
had acquired means enough to take life easily, to
help on less fortunate men, and to promote various
causes he had at heart. Much of his life was passed
in Paris, and he was elected a corresponding member
of the French Institute (by which he was awarded
a medal), as well as of the St. Petersburg Academy.
He took great interest in the history and con-
dition of English art, was a founder of the Artists'
Benevolent Fund, opposed the Ro)'al Academy
with much energy and not a little acerbity,
and wrote an important work on ' The Patronage
of British Art.' He also managed the publication
of ' Pictures from the National Gallery,' which
came to an end after twenty-nine parts had been
issued. Pye died in London in 1874. Amongst
his best plates are :
Pope's Villa ; after Turner.
Temple of Jupiter ; afte7' the same.
Hardraw Fall ; after the same. '
Wycliffe, Yorkshire ; after the same.
Bhrenbreitstein ; after the same.
■Weathercote Cave ; after the same.
Kialto, Yenice ; after the savie.
La Kiccia ; after the same.
St. Mary EedolySfe, Bristol ; after the same.
Junction of the Greta and the Tees ; after the same.
The Annunciation ; after Claude Lorrain.
Holy Family ; after M. Angela.
Evening ; after George Barrett.
Classical Landscape ; after Gaspar Poussin.
The last of "William Smith ; after Zandseer.
Scenes in India ; after Daniel.
Plates to Stanhope's ' Olympia.'
Plates to the ' Oriental Annual.'
PYE, Thomas, historical painter, studied in
Dublin under West, and in 1794 was in Rome.
Nothing further is known about him.
PYLE, Robert, an English portrait and subject
painter, born in the first half of the 18th century.
He practised in London, and in 1763 was a member
of the Free Society of Artists. Some of his works
were engraved, among them the following :
The Power of Music and Beauty. (Engraved hy J.
Watson.)
The Four Elements. {The same, hy J. Spooner.)
Portrait of Queen Charlotte.
PYM, B., an English portrait and miniature
painter, who had a considerable practice in London
in the latter half of the 18th century. He exhibited
regularly at the Academy up to 1793. There is a
portrait of Bannister by him at the Garrick Club.
PYNAKER. See Pijnakeb.
PYNE, Charles Claude, an English water-
colour artist, was born in 1802. For many years he
was teacher of drawing in the Grammar School at
Guildford, in which town he died in October, 1878.
In the Art Library, South Kensington Museum,
are six volumes of his sketches in Switzerland and
North Italy, and a volume filled with small draw-
ings of Normandy and Brittany.
PYNE, James Baker, was bom in Bristol in
1800. He was intended for the law, but he aban-
doned it to become an artist. In 1835 he came to
London, and exhibited at the Royal Academy. In
1842 he was admitted a member of the Society of
British Artists, and was for some years its Vice-
President. In 1846 he visited Switzerland, Ger-
many, and Italy ; and in 1851 he paid a second
visit to Italy. He published 'Windsor and its
surrounding scenery,' in 1840, 'The English Lake
District,' in 1853, and the ' Lake Scenery of Eng-
land,' in 1869. He died in 1870» His art was
arbitrary in its relation to nature, but as an execut-
ant and a decorative manipulator of colour, his
skill was very great. Works :
The Bay of Naples. ( Oil. )
Distant View of Arundel.
_( Water.)
View in Cumberland. (The
0
London. S. Kensington Mus.
PYNE, William Henry, an English water-
colour painter of landscape and figure subjects,
was born in London in 1769. He received some
instruction in drawing from a draughtsman, and
exhibited at the Academy from 1790 to 1796. In
1804 he was one of the original members of the
Water-Colour Society, where he exhibited till 1809.
The later part of his life was chiefly devoted to the
literature of art, and he published many works in
conjunction with Ackermann. The chief of these
were :
' The Microcosm of London.' 1803-6.
' The Costume of Great Britain.' 1808.
' Etchings of Hustle Figures.' 1817.
' History of the Royal Eesldences.' 1819.
He died at Paddington in 1843. Three of his
water-colour drawings are in the South Ken-
sington Museum, namely :
Eustio Cottages. 1806.
Eochester. 1830.
Landscape, with Church and Cottages.
PYREICUS, who lived immediately after the
time of Alexander the Great, was the most eminent
genre paiiiter of his time.
330
Quadal
PAINTERS AND ENGEAVEKS.
Quaini
Q
QUADAL, Mae'J'IN Ferdinand, painter and en-
graver, was bom at Niemtsohitz in Moravia in
1736. He came in early life to London, then visited
Prance and Italy, worked at Vienna in 1787-9, and
in St. Petersburg 1797-1804. After a second visit to
London, he returned to St. Petersburg, where he
died in 1811. He painted animal pieces, as well
as military scenes, genre subjects, and portraits.
He etched a ' Group of Cats,' a ' Child with a Dog,'
and ' Studies from Domestic and Wild Animals '
(London, 1793).
QUADRA, Nicolas Antonio, (or De la Quadra,)
a Spanish painter, who flourished at the end of the
17th century. There is a life-size portrait by him in
the Carmelite Convent at Madrid. It is dated 1695.
QUAGLIA, Fernando, an Italian miniature
painter, who was active in the first years of the
19th century. He painted portraits of Marshal
Junot and of the Empress Josephine.
QUAGLIATA, Giovanni, an historical painter,
born at Messina in 1603. He was a pupil of
Cortona. His brother Andrea, born in 1600, was
also an historical painter. Giovanni died in 1673
and Andrea in 1660.
QUAGLIO. This was the name of a family
of artists of Laino, between Lakes Como and
Lugano. Some of them were exclusively architects
(Giovanni Maria 'the elder,' Lorenzo ' the elder,' and
Giulio 'the third') — whose names in the following
genealogical table are enclosed in parentheses : —
Oiulio cider, 1601—?.
Giulio younffer, ?— 1?20.
(GioTanni Maria elder, ?— 1^65.)
Domenlco elder, 1723—1760.
(GilUlo ' t5rd,' 1748—1801.) Giuseppe, 17W-1828.
(Lorenzo elder, 1730—1804.)
Giovanni Maria younger, 1772— ItjoS.
Angelo, 1778—1815. Domenico younger, 1787-1837. Loreuz younger, 1793—1869. Simon, 1795—1873.
QUAGLIO, Angelo, eldest son of Giuseppe
Quaglio, an architect, designer, and painter, was
born in 1784, and died in 1815. He designed and
painted landscapes and architectural pictures for
Boisser&e's work on Cologne Cathedral. Two pic-
tures by him are in the new Pinakothek at Munich.
QUAGLIO, Domenico, 'the elder,' historical
painter, was bom at Laino in 1723, and died in 1760.
QUAGLIO, Domenico, 'the younger,' second
son of Giuseppe Quaglio, was a landscape and
architectural painter, born at Munich in 1787. He
was taught perspective and scene-painting by
his father, and engraving by Mettenleiter and
Karl Hess. In 1819 he resigned his post as
scene-painter, and occupied himself thenceforward
only with architecture, for which he obtained
subjects in the Netherlands, Italy, France, and
England. He died at Hohenschwangau in 1837.
He engraved twelve plates of 'Architectural Monu-
ments,' and lithographed thirty ' Remarkable Ger-
man Buildings of the Middle Ages.' There are
many pictures by him in the modem collections' at
Munich and Berhn.
QUAGLIO, Giovanni Maria, ' the younger,' son
of Lorenzo Quaglio 'the elder,' was an architect
as well as painter, and was born at Laino in 1772.
He studied at Rome, Naples, Milan, and Venice,
jand became in 1793 court scene-painter at Munich.
He died in 1813.
QUAGLIO, Giulio, 'the elder,' father of the
younger artist of the same name, was an historical
and fresco painter, and an imitator of Tintoretto.
He was bom in 1601, and worked in Vienna, Salz-
burg, and Laibach.
QUAGLIO, Giulio, 'the younger,' was a native
of Como. He established himself in the Friuli
about the end of the 17th century, and there exe-
cuted several considerable works in fresco. His
most esteemed productions are in the chapel of
the Monte di Pieti, at Udine.
QUAGLIO, Giuseppe, was born at Laino in
1747, and died at Munich in 1828, having prac-
tised scene-painting in Mannheim, Franlrfort, and
Ludwigsburg.
QUAGLIO, LoEENZ, ' the younger,' third son of
Giuseppe Quaglio, was a genre painter and litho-
grapher. He was bom at Munich in 1793, and
died at the same city in 1869. The Berlin National
Gallery contains a 'Tyrolese Inn' by him. He
furnished designs for a set of illustrations from
the Munich Gallery, and lithographed a ' Family
Concert ' after G. Netsoher.
QUAGLIO, Simon, a son of Giuseppe Quaglio,
was a theatrical painter, architect, and lithographer,
and was born at Munich in 1796. He studied under
his father, and under his brother Angelo, and painted
architectural subjects as well as theatrical scenes.
He died at Munich in 1878.
QUAINI, Francesco, was bom at Bologna in
1611, and was a scholar of Agostino Mitelli, under
whom he became a painter of perspective and archi-
tectural views. There are several of his works in
the public buildings of Bologna. The best perhaps
is the decoration of the Sala Farnese, in the Palazzo
Publico. He died at Bologna in 1680.
QUAINI, LuiGl, the son of Francesco Quaini,
was bom at Bologna in 1643. After learning
perspective under his father, he became a disciple
of Guercino, but afterwards entered the school of
Carlo Cignani (to whom he was nearly related), at
the time when Marc Antonio Francesohini was
also a disciple of that master. Conjointly with
Francesohini, he assisted Cignani in several of
his principal works. After the death of their in-
structor, the two scholars continued to labour in
conjunction, Francesohini supplying the figures
and Quaini the landscapes, architecture, and other
accessories. Their united talents were successively
employed at Bologna, Modena, Piacenza, Genoa,
and at Rome, where they painted the cartoons for
331
Cluarenghi
A BIOGRAPHICAL DICTIONARY OF
Quellin
one of the small domes in St. Peter's, which were
carried out in mosaic. Quaini also painted several
historical subjects from his own compositions,
which were entirely finished by himself. In the
church of San Giuseppe at Bologna is a ' Visit-
ation ' by Quaini ; in La Cariti, a ' Pietk ' ; and in
San Niccolo the principal altar-piece; it represents
the saint in prison, visited by the Virgin and an
angel. Quaini died in 1717.
QUARENGHI, Giacomo, painter, born at Ber-
gamo in 1744. He was a pupil of R. Mengs, but
devoted himself chiefly to architecture. He mi-
grated to St. Petersburg, where he worked almost
entirely at architecture, and liad a great influence
over the development of that art at the Russian
capital. He died there in 1817.
QUAST, PiETER, was a Dutch painter and en-
graver at the Hague, where he lived in 1632. His
pictures usually resemble those of Brouwer and A.
van Ostade, and represent beggars and assemblies
of boors merry-making, treated with a great deal
of humour and not less vulgarity. He has been
termed ' the Dutch Callot.' Of his paintings there
remain :
Berlin. Suermondt Coll. An Officer.
Brunswick. Gallery. Spirit-dealer and a Woman.
„ „ Blind Man and AVoman.
Vienna. Peasant Dance. 1633.
We have several spirited etchings by him from
his own designs, as well as after other masters,
some of which are executed in the style of Callot,
though incorrect in drawing. He generally marked
his prints with one of the following monograms :
^ . J^g, . jQj . The following may be named :
The Five Senses ; P. Quasi fee. 1638.
The Four Seasons, in grotesque figures.
A set of twenty-six plates of Beggars, Boors, &c.
A set of twelve Grotesque Figures.
A set of ten plates of Beggars, &c. S. Savery exc.
A set of twelve fancy subjects, in imitation of Callot.
QUATREPOMMB, Isabella, is mentioned by
Papillon as an engraver on wood. She seems to
have been a native of Rouen, and to have flourished
about the year 1521, for that date appears on the
frontispiece of an old calendar executed by her,
representing a figure of Janus. It is marked with
a rebus made up of an apple on which is the
cipher 4. There has been some dispute as to her
gYlgi'ATlCG
QUEBOORN (or Qdbboeen). See Van den
QUBBOORN.
QUECQ, Jacques Edouard, a French historical
painter, bom at Cambrai in 1796, and died in 1874.
He was a pupil of Steuben. Works :
First Combat of Eomulus and Eemus. 1827.
Death of Vitellius. 1831.
Death of Britannicus. 1833.
After the Shipwreck. 1834. {Museum of Valenciennes.)
Saint Waast. 1838. {Mirdstere de I' Iriteriiur, Fans.)
St. Francis of Assissi. 1836. {Do.)
San Carlo Borromeo during the Plague at Milan. 1840.
San Carlo Borromeo administering the Viaticum to Pius
IV. 1842.
St. Martin of Tours. 1846. {Ministere de I'lnterieur.)
Lais and Diogenes. 1850.
Christ fainting under (he Cross. 1861. {Yvmy, JVord.)
Portrait of Louis XVllI. {Camirai Museum.)
QUELLIN, Erasmus II., (or Quellinus,) was
born at Antwerp in 1607. He was son of the sculp-
tor Erasmus Quellin I., and brother of Artus Quellin,
also a sculptor. The early part of his life was
devoted to the study of the Belles Lettres, and
332
Sandrart asserts that he was for some time pro-
fessor of philosophy. His intimacy with Rubens
inspired him with a love for painting, and, aban-
doning his professor's chair, he became the disciple
of his friend. In a few years he distinguished
himself among the able artists of his country, at a
period when Antwerp was the residence of the best
painters of the Flemish school. He became a
master of perspective, and was well versed in tlie
details of architecture, with which he embellished
the backgrounds of his historical pictures. His
landscapes too are treated in a very pleasing style.
On the conclusion of peace between France and
Spain, he in 1660 painted ' Mars and Bellona chased
by Peace and Hymen,' also ' The Nuptials of Louis
XIV. and Maria Theresa,' and several decorative
pictures upon the occasion of the entry of the
Spanish Governor-General in 1665. He was not
less successful with portraits, and painted those of
many of the most distinguished artists of his time.
Quellin was a great friend of Gevartius. He died
in Tongerloo Abbey in 1678. Works :
Antwerp. St. Andrew's. The Guardian Angel.
„ St. Jacques, Death of St. Eoch.
„ Museum. Miracles of St. Hugh of Lin-
coln {a double picture).
» !, Gratien Molenaer saved by
St. Catherine.
„ „ A Bishop.
» n Portrait of Bishop Nemius.
Dresden. Gallery. The Betrothal of Mary.
,) „ The Madonna, and Saints.
Ghent. St. Saviour's. A * Eiposo.'
Madrid. Museo, The Conception.
„ „ The Eape of Eoropa.
» „ Bacchus and Ariadne.
„ „ Death of Eurydice.
„ „ Jason.
„ „ Cupid on a Dolphin.
i> » Two Angels putting two un-
clean Spirits to flight.
(Fragment.)
Mechlin. S. Peter's Church. The Nativity.
Eotterdam. Museum. Assumption of the Virgin.
J, „ A Kitchen.
Vienna. Belvedere. Coronation of Charles V.
We have a few etchings by Erasmus Quellin
among which are the following :
Samson killing the Lion ; after Rvhens.
A Landscape, with a dance of children and yOung satyrs ;
E. Quellinus fee.
The Virgin and Infant Jesus ; after Eulens.
Christ at the Pillar.
QUELLIN, Hubert, (or Quellinus,) another
brother of Artus Quellin, was born at Antwerp
about the year 1608. He engraved a set of plates
after designs made by Jan Bennokel, from the
marble statues executed by Artus Quellin, in the
Stadthouse at Amsterdam, which plates are marked
with the initials of both the artists, A. Q. H. Q.
They form a volume in folio, and were published in
1655. He also engraved some portraits. His
plates are etched in a singular style, resembling
that of Pieter Soutman, and neatly finished with
the graver. Among others, we have the following
portraits by him :
Artus Quellin, Statuary of Antwerp ; H. Quellinus del.
et sc.
Philip IV. seated on his throne, with the Prince Eoyal,
and several allegorical figures ; H. Quellinus. 1665.
QUELLIN, Jan Erasmus, the son and scholar of
Erasmus Quellin II., was baptized at Antwerp on
December 1, 1634. He visited Italy, and resided
some years at Venice, wh^e the works of Paolo
Veronese particularly attracted his attention. He
Queutin
PAINTERS AND ENGEAVERS.
Quesnel
adopted the decorative style of that master, and
had acquired considerable reputation at Venice,
Naples, and Rome, when, at the desire of his
father, he returned to his native country. The
expectation his countrymen had formed from the
report of his talents furnished him with numerous
commissions, and his altar-pieces are to be found
in most of the churches of the Low Countries.
The younger Quellin was a painter of great natural
ability, but in his time the school was too far on
the decline for his work to be agreeable. He became
a member of the Guild at Antwerp in 1660, and was
named painter to Leopold II., whose portrait, and
that of the Empress, he painted. Quellin married
Com61ie,the daughter of David Teniers the younger,
and by her had a family of eleven children. The
date and place of his death are unknown, although
Immerzeel gives the year 1715. Works :
Antwerp. Abbey of St. ) Christ healing the Sick (a
Michael.) colossal work).
„ „ The Four Feasts of Scripture
{four pictures).
„ Cathedral. Adoration of the Magi.
„ Museum. The Pool of Bethesda {in
two parts).
„ „ The Martyrs of Goroum {in
three pictures).
„ „ Portrait of Bishop van den
Eede of Antwerp.
„ „ St. Bernard receiving the
Habit.
„ „ Christ at the House of Simon
the Pharisee.
„ „ Martyrdom of St. Agatha.
„ „ The Nativity.
„ „ Miracle of St. Hugh.
Mechlin. Notre Dame. The Last Supper.
Vienna. Belvedere. Martyrdom of St. Andrew.
„ Liechtenstein Coll. Esther before Ahasuerus,
QUENTIN, Nicolas, a French historical painter
who lived at Dijon, and died there in 1636. His
life has been too much neglected by biographers
and critics, for his work had considerable originality.
He appears to have had no regular master. The
compiler of the catalogue of the Dijon Museum
asserts that Poussin, passing through Dijon and
seeing his ' Communion of St. Catherine,' exclaimed
that if Quentin understood his own interests, and
went to Italy for improvement, he would make his
fortune. Works :
Dijon. Musie. Bishop blessing a child.
„ „ St. Margaret.
„ „ The Circumcision.
„ „ The Head of St. Elizabeth.
„ „ The Visitation.
„ „ TheAdorationof theShepherds.
„ „ St. Bernard.
QUERENA, Lactanzio, an Italian painter, born
at Clusone, near Bergamo, in 1760. He studied at
the Academy of Verona, and also in Venice. He
was very skilful in restoring old masters, and
painted many pictures for the churches. He died
at Venice on July 10, 1853. Works :
Venice. Sta. Maria For-
mosa.
„ SS. Giovanni e
Sta. Marina.
Pfl™!"' ' [Descent from the Cross.
„ Sta. Maria del ) t>-
JPianto. jEiposo.
„ iSt. Mark's. Mosaic of Last Judgment.
QUERFURTH, August, was bom at Wolfen-
buttel in 1696. He was first instructed by his
father, Tobias Queefubth, a landscape and animal
painter, and afterwards studied under Rugendas at
Augsburg. He painte'fl encampments, battles,
skirmishes of cavalry, and hunting subjects, in all
of which he appears rather as an imitator than as
an original painter. He sometimes imitated the
manner of Bourgognone, Parrocel, and Van der
Meulen, but more especially sought to form his
style after Wouwerman. He died at Vienna in
1761. The Belvedere possesses two hunting-pieces
by him ; the Augsburg Gallery, four, and a battle ;
others are at Berlin, Dresden, and Stiittgart.
QUERRA. See Gueeha.
QUERTEMONT, Andreas Bbenhard de, a por-
trait and historical painter, bom at Antwerp in 1750.
He was a pupil of the Academy of Antwerp, of
which he afterwards became Director. He also had
a private school, from which he turned out several
good painters. He was the author of a series of
portraits of the members of the ' States ' of Brabant,
which have been engraved. He died in 1835.
QUESNEL, a Scoto-French family of artists of
some importance : genealogy :
Pierre (early 16th century).
Fran?oi8(lM4?— If
1. Nicolas
( — 1632).
Nicolas Touasaint
(1601 — ). (living 1661).
Jacques
( — 1624).
AuKUStiu Francois II.
(1695 — ). (1600 — ).
QUESNEL, AuGUSTiN, son of Franjois, was bom
in Paris in 1595. He was painter and print-seller.
Marolles says he painted portraits, but the only
known work of his is a ' Flute-player,' engraved by
Ganieres. Of the other two sons of Fran9ois,
FBANgois II. and Nicolas, nothing is known, but
it is believed that the former quitted the easel for
the cloister.
QUESNEL, FEANgois, the eldest son of Pierre,
was born at Holyrood, Edinburgh, about 1544.
His portrait, by himself, was engraved by Michel
Lasne. He seems to have been the ablest and
the most famous member of his family. He was a
great favourite with Henry III. and his court,
especially the Chancellor Chivemy. His portraits,
says de Marolles, are often confounded with those
of Janet. He compiled ' Le Premier Plan de Paris,
en douze feuilles.' But for his modest and retiring
disposition, he would have won wider fame and
greater honours. He made many designs for
tapestries, &c., to be used on the occasions of the
entry of Marie de Medici, and the consecration of
Louis XIII. Some of these were engraved by
Thomas de Leu. Quesnel died in Paris in 1619.
Works :
Paris. Louvre. Bust Portrait of a Woman. (A
drawing in black chalk.)
„ Nat. Library. Portrait of a Man. {Pastel.)
„ „ Gabrielle d'Bstrdes. (Pastel.)
QUESNEL, Jacques, third son of Pierre,^ was
born at Paris. Nearly all that is known of him is
contained in the following quatrain of Marolles :
Jacques peignit des Saints, des voutes, des chapelles.
II peignit des tableaux pour I'hotel de Zamet,
II en fit pour le prince a qui tout se soumet,
Et Ton connut de lui mille beaut^s nouveUes.
He died in Paris May 11, 1624.
QUESNEL, Nicolas, second son of Pierre, born
in Paris, was Dean of the Society of Painters and
Sculptors. There is a portrait in pastel by him, of
his father, Pierre Quesnel, in the National Library,
Paris. He died August 7, 1632.
QUESNEL, Pierke, the head of the family, was
descended from an ancient Scottish house. He was
protected by Mary of Lorraine, who presented him
to her husband, James V. He married Madeleine
Digby in Scotland, and, after she had born him one
333
0.11681161
A BIOGRAPHICAL DICTIONARY OF
Quitei
son, returned to France and settled in Paris, where
he was still living in 1580. His only known work
is the design, executed in 1657, for the east
windows in the church of the Augustines, at Paris.
The subject is the ' Ascension,' with Henry II. and
Catharine de' Medici as kneeling spectators.
QUESNEL, TonssAiNT, son of Nicolas the elder,
flourished in 1651, when he painted history in
collaboration with Fr^minet and Dubreuil. In the
above-named year he signed the act of union be-
tween the master painters and the academicians.
QUETRY, BARTHfcLfiMY, a French painter, who,
in 1543, painted a series of mythological pictures
in the Tennis Court at the Tuileries.
QUEVERDO, Peanqois Maeie Isidore, a French
engraver, doubtless of Spanish origin, was born at
Josselin in Brittany in 1748. He was a pupil of
J. B. Pierre and of J. de Longeuil. He engraved
several plates, as well from his own designs as after
other masters. He executed part of the plates for
the ' Voyage pittoresque d'ltalie,' by the A.bbe de
St. Non. We have also, among others, the following
prints by him :
A series of designs for the ' Henriade ' ; partly engraved
hy himself, hutjinished by Dembrun,
A series of vignettes for a translation of Ovid's ' Fasti,'
and 'Heroides.'
Setting out for the Sabhath.
Republican Calendar for the year Two.
Portrait of Charlotte Corday. (Drawing.)
QUEVERDO, Lonis Ive, engraver, born in Paris
in 1788, was a pupil of Regnault and Coiny.
Among his plates we may name the following :
The Transfiguration ; after Raphael. (' Musfe Filhol.')
The Canaanitish Woman ; after Drouais. (Do.)
The Romans and Sabines ; after David. (' Recueil des
Prix D^cennaux.')
The Three Ages ; after Girard. (Do.)
Marcus Sextus ; after Guerin. (Do.)
Orestes and the Furies ; after Sennequin. (Do.)
The Coronation of Kapoleon I. ; after David, (Do.)
Andromache ; after &udrin. (Etching.)
Neptune and Amphitrite ; after Giulio Romano. (Do.)
Henry IT. and his family ; after Ingres. (Do.)
Daphnis and Chloe ; after Girard. (Do.)
(These four plates were finished with the burin by
Michomme).
QUILLERIER, Noel, a French historical painter
and assistant professor of the Academy of Paint-
ing, was born at Orleans in 1694, and died in
1669, in Paris. He was received at the Academy
in 1663, his reception picture being a ' Saint Paul.'
He executed paintings in a cabinet at the Tuileries,
and during several years of his life was conservator
of the pictures in the Royal Palace of the Louvre.
QUILLIARD, Pierre Antoine, a French painter
and engraver, was born in Paris in 1711. He was
a scholar of Watteau, and soon after leaving the
school of that master, he was invited to the court
of Portugal, where he was made painter to the
queen, and a member of the Academy at Lisbon.
His principal work as a painter is a ceiling in the
queen's bed-chamber. He engraved from his own
designs the plates for ' The Funeral of Duke Don
Nuno Olivares Pereira,' published at Lisbon in 1730.
He died at Lisbon while still young.
QUINAURT, Charles Louis FRANgois, a French
painter, born at Valenciennes in 1788. He was a
pupil of Abel de Pujol and Watelet. His pictures
are numerous. In the museum in his native
town there is an ' Erminia with the Shepherds,' in
a landscape.
QDINKHARDT, Jan MAURiTS,was bomatRees,
near Cleves,in 1688, and was a scholar, successively,
of Arnold van Boonen, Lubinietski, and N. Ver-
kolje. He painted familiar, allegorical, and mytho-
logical subjects, and was excellent in portraits, of
which he painted a great number. Five good ex-
amples are in the Amsterdam Museum. He died in
1772. His son Julius, horn in 1736, was instructed
by his father, but abandoned art for commerce.
He died in 1776. Two pictures by him are in the
Amsterdam Museum.
QUINTILIEN, — , is mentioned by Florent le
Comte as the engraver of some plates after Callot,
to which he did not afiSx his name.
QUINTON, Gborqe, a self-taught engraver, was
born at Norwich in 1779. Some of his works
appear in the ' Gentleman's Magazine,' 1796.
QUIRICIUS DA MURANO, an obscure painter
over whose career there has been much discussion.
Among tlie treasures at Rovigo towards the close
of the 18th century, Francesco Bartoli noticed a St.
Lucia by an unknown painter in the house of the
Campanari family, dated and signed as follows,
Opiis Quiricius de Joanes VeneciisM" 4062. This
picture is now in the possession of Cardinal Sil-
vestri at Rovigo. The signature and technical
characteristics suggest that Quiricius was the pupil
of Giovanni d'Alemania, the chief of the famous
workshop of Murano. In the Venice Academy
there are a ' Virgin Adoring ' and an ' Ecce Homo,'
both clearly by the same hand, and the former
signed . ._ uiritus, Murano. This signature, how-
ever, is either false or repainted. For a fuller dis-
cussion of Quiricius, see Crowe and Cavalcaselle,
' Painting in North Italy,' vol. i. pp. 34—37.
QDIROS, Lorenzo, a Spanish historical painter,
and imitator of Murillo, was bom at Santos in
Estremadura in 1717. He studied at Seville under
Bernard German Llorente, and made great progress
both in fresco and oil painting. To perfect himself
in drawing,_he went to Madrid ; but his turbulent
disposition induced him to abandon the patronage
of Corrado and Mengs, who were disposed to em-
ploy him. He returned to Seville, where he re-
mained for twenty years without ever making any
one acquainted with his place of residence. He
employed himself in copying the works of Murillo,
which he did very successfully, selling his copies
through an agent. He died iu 1789. He has left
works at Madrid, at the Royal Academy of San
Fernando, at Cazalla, Granada, Xeres, Seville, and
at other places in Spain.
QUITER, Herman Hendrik, (or Har Hind,)
a Dutch mezzotint engraver, was born in 1620, and
died in 1700. We have by him a few English
portraits, after Sir Peter Lely and others.
His eldest son, also Herman Hendrik, studied in
the school of Carlo Maratti, in 1700, and was after-
wards painter to the Landgrave of Hesse ; he died
in 1711 at Brunswick. Magnus Quitee, a younger
son, a portrait painter, was also a short time in the
school of Maratti ; he visited Holland and England,
and probably assisted Kneller. He was afterwards
keeper of the Gallery at Salzdahim, and died in 1744.
There was also an E. Quiter, a mezzotinter, who
produced a few plates after Jan de Baan,
334
Baab
PAINTEES AND ENGRAVERS.
Bade
R
EAAB, Ignaz Joseph, a painter, was born at
Mechanitz in Bohemia, in 1715. He studied at
Getschin under Major, but in 1744 entered the
Jesuit Order, for which he did much decorative work
in fresco. He died at "Welehrad in Moravia, in 1787.
RAABE, Joseph, a portrait and historical painter,
was born at Deutsch-Wartemberg, in Silesia, in
1780. After travelling through Germany, France,
and Italy, he became court painter to the Duke of
Hesse, and teacher of drawing and painting in the
Academy at Bonn. In 1816 he became a member
of the Dresden Academy, and in the same year
went again to Italy. Some years later he was
appointed court painter to the King of Saxony.
His chief works are figures of St. Peter and St.
Paul, painted for the church at Naumburg, in
Silesia, and a ' Madonna and Child ' for the church
at Werthau, in the same province. In the Dresden
Gallery there is a series of pictures and drawings
by him illustrating the history of Germany in the
Middle Ages. Eaabe died in 1849.
EABAGLIO, Peospeb, was a native of Brescia.
There is an altar-piece by him in the church of the
Capuchins in that city, dated 1588.
RABASSE, Jean, an engraver and print-seller,
who flourished in Paris about 1650. Three prints
have been attributed to him : a ' Judith,' signed
Jean Rabas avec Previlege du Roy ; a ' Holy
Family,' with his initials, J. R., and a 'Repose
in Egypt,' with the same letters in a cipher. The
two latter have been variously assigned by different
writers. .
RABBIA, Rafaelle, a portrait painter, was born
at Marino. He was living in the year 1610.
RABEL, Daniel, the son of Jean Rabel, was
probably instructed by him in the principles of
art. He painted landscapes, some of which have
been engraved. He etched a considerable number
of plates in a style resembling that of Israel
Silvestre, which chiefly consist of views and land-
scapes, with figures neatly drawn. His death is
said to have taken place in 1628.
RABEL, Jean, painter and engraver, was bom
at Beauvais, in France, between 1545 and 1550. He
executed several etchings for a book called ' The
Antiquities of Paris,' published in 1588. He en-
graved portraits of Charles V., Louis XII. , Soissons,
and Coligny ; and painted portraits of Henri III.,
Gamier, and others. There is a copper-plate by
him representing the • Martyrdom of St. Lawrence,'
copied from the print of the same subject engraved
by Marc Antonio, after Baccio Bandinelli. It is
smaller than the original, and on a stone at the
bottom of the print is inscribed lo Rabel Bel-
lonacus lute Parisii. He died in 1603.
EABEN, Seevatius, (Raeven, or Raven,) a
Dutch engraver, of whom little is known with
certainty, except that he engraved the ' Twelve
Caesars,' after Stradanus, on one of which is a cipher
formed of S. R. V. , and on the rest his name varied
as above ; and the 'Madonna della Seggiola,' after
Raphael, signed Servatius Raeven. By some he
has been confused with Serwouter ; but the cipher
of the latter is very dijBEerent from his, being
composed of a P and an S interlaced, followed
bya W.
RARER, Johann Georq, a German engraver,
was born at Vienna in 1764. He became the pupil
of Muller in Stuttgart, and of Desnoyera in Paris.
His chief works are ' Children,' after Van Dyck ;
a ' Madonna,' after Raphael ; and a portrait of
Prince Ludwig of Bavaria, after Kellerhofen.
RABIELLA, Pablo, a Spanish painter of battle-
pieces, who lived at Saragossa at the commence-
ment of the 18th century, where he enjoyed a con-
siderable reputation. Though not very correct in
his drawing, in his painting he followed with
success the styles of Juan Rizi of Castille, and
Juan de Valdes of Andalusia. There are several
pictures in the Trinitarios Calzados de Teruel
attributed to him ; also in the chapels of St. Marco
and Santiago, and one in the Cathedral de la Seu
at Saragossa, representing the Battle of Clavijo.
EABI8IN0, ToMMASo da, commonly known as
Tommaso da Modena, a native of Modena, who
flourished as a painter in the 14th century. Of his
life nothing is known for certain, but the chief
works which have been the means of preserving
his name are : an ' Eoce Homo ' and ' Madonna ' in
the chapel of the Castle at Karlstein ; a ' Madonna '
in the Gallery at Modena ; a ' Madonna with Saints '
in the Belvedere at Vienna, and several Saints
in the church of St. Niccolo at Treviso, most of
which are in a very exaggerated style. See Crowe
and Cavalcaselle, 'Italian Painting,' vol. ii. p. 219.
RABON, Nicolas, (or Rebon,) son of Pierre
(Rabon), was born in Paris in 1644, and painted
historical subjects. He obtained honours at the
Academy in 1666, and was admitted a member in
1686. He died the same year at Hermant.
RABON, PiBRBE, (or Rebon,) bom at Havre
in 1619, practised portrait painting. He was
admitted into the old Royal Academy of France in
1660, and died in 1684.
RACCHETTI, Bernardo, the nephew and scholar
of Giovanni Ghisolfi, was born at Milan in 1639.
He painted architectural views and perspectives
in the style of his instructor, for whose pictures
Racohetti's are not unfrequently mistaken. They
usually represent sea-ports embellished with mag-
nificent buildings, which are diawn with precision,
and handled with taste and spirit. There are
many of his works in the private collections at
Milan, where he died in 1702.
RACINE, Jean Baptiste, a French engraver,
born in Paris in 1747. He was a pupil of Fran-
cois Aliamet, and has engraved several vignettes
and other plates for books, after Cochin. We have
also some prints of landscapes after different
masters, and a few subjects from the pictures in
the Orleans Gallery. Among others the following
are by him :
Hagar and Ishmael ; after P. F. Mola.
A Pastoral Subject ; after B. Breenlerg.
A Pair of Landscapes ; after PiUement.
EACLE, FEANgois B., portrait painter, born at
Liege, 1739, a pupil of Deprez, and studied also
in Italy. He succeeded his father as painter in
335
Radclyffe
A BIOGRAPHICAL DIOTIONAEY OF
Bados
ordinary to the chapter of S. Lambert's Cathedral.
He died 1777.
RADCLYFFE, Edward, an English mezzotint
and line engraver, born at Birmingham in 1810.
He studied under his father, W. RadclyfEe, whom
he assisted for some time. Coming to London in
1842, he worked for the Annuals and the 'Art
Journal.' In 1862 he engraved a series of land-
scapes after David Cox for the Art Union of
London. He died in Camden Town in 1863.
Amongst his best plates are :
The Wiudy Day ; afta- D. Cox.
A "Welsh Funeral ; after the same.
Kenilworth Oastle ; after the same.
The Hay-field ; after Ahsolon.
Eape of Europa ; after Claude.
The Beacon Tower ; after the same.
Morning : Sea Coast ; after F. JR. Zee.
RADCLYFFE, William, an English engraver,
born at Birmingham in 1780. His works are in
the line manner, and are chiefly landscape. He
practised in his native town, and had much to do
with the encouragement of art there. Thus, in
1814, he was one of the founders of the first Bir-
mingham school of art ; in 1821 he assisted in the
formation of the Society of Arts ; and, in 1842, he
aided in the establishment of the Society of Artists.
Many of his works are to be found in the Annuals
of the time ; perhaps his best efforts are in ' Graphic
Illustrations of Warwickshire' (1829), and Ros-
coe's ' Wanderings in North and South Wales.'
He died at Birmingham in 1865. The following
are some of his best plates :
Portrait of Dr. Milner ; after Barter.
Portrait of Lord Nelson.
Rest in the Desert ; after Micller.
Crossing the Sands ; after Collins.
Church of St. Julian ; after Turner.
Hornby Castle ; after the same.
Deal ; after the same.
RADCLYFFE, William, an English portrait
painter, was the son of W. Radclyffe, the engraver.
He practised at Birmingham, and afterwards at
London, exhibiting occasionally at the Royal Aca-
demy. He died young in 1846.
RADEMAKER, Abbaham, probably the younger
brother of Gerard Rademaker, was born at Amster-
dam in 1676, and is said to have reached an
eminent rank in art as a landscape painter, with-
out the assistance of an instructor. His first
productions were painted in water-colours, and
were very highly finished ; but he afterwards
practised oil painting, with no less success. He
was well acquainted with the rules of architecture,
and embellished his landscapes with buildings and
ruins, in a very picturesque manner. He engraved
from his own designs a set of plates of the most
interesting views of ancient monuments, &c. in the
Netherlands. They are executed in a masterly style,
and were published at Amsterdam in 1727. Rade-
maker died at Amsterdam, January 22nd, 1735.
RADEMAKER, Geeard, bom at Amsterdam in
1672, was the son of an architect, who taught him
the first rudiments of drawing and perspective,
with an intention of bringing him up to his own
profession ; but perceiving his son's inclination for
painting, he placed him under the tuition of A. van
Ghoor, a portrait painter of some reputation. He
had made some progress in his studies when the
death of his master deprived him of his assistance ;
but he was sufficiently advanced in the art to give
lessons in design ; and he was engaged by the
Bishop of Sebasto to teach his niece drawing.
330
That prelate being afterwards obliged to visit
Rome, Rademaker was invited to accompany him,
and had the advantage of improving his talent
by studying the most interesting objects in that
capital. His genius led him to represent views
of the principal ruins and other monuments in that
city and vicinity, which he designed with accuracy
and precision. On his return to Holland he met
with the most flattering encouragement. He did
not, however, confine himself to architectural
views, but painted with considerable success
historic and emblematic subjects which adorn the
public edifices at Amsterdam and the other cities
of Holland. In the Townhall at Amsterdam is an
allegorical subject painted by Rademaker, repre-
senting the regency of the city ; and in the
collection of the family of Walraaven there is a
view of the interior of St. Peter's at Rome, de-
signed with great accuracy. He died at Amster-
dam in 1711.
RADET, Jean B., a French painter and native
of Dijon, where he was born in 1752. As an artist
he had little success, but won some reputation
with liis pen. He died in 1830.
RADI, Bernardino, a native of Cortona, an
Italian designer and engraver, whose name is affixed
to a set of architectural ornaments, monuments, &c.,
published at Rome in 1618. They are slight, hasty
etchings, and bear the title Varie invemioni per
depodti di Bernardino Radi Corionese.
RADIGUES, Antoine, a French engraver, born
at Rheims in 1719. He is said to have visited
England, whence he went through Holland to
Russia, and resided several years at St. Petersburg,
where he engraved the portraits of the Prince and
Princess Gallitzin, and other persons of distinction.
He also engraved a plate for the collection of tjje
Dresden Gallery, representing Angelica and Medoro,
after Alessandro Tiarini.
RADIN SALEH BEN JAGYA, Prince, a native
of Java, where he was born early in the present
century. He was the pupil, in painting, of A.
Schelfhont and C. Kruseman. He lived for a
time in Dresden, and afterwards accompanied
Horace Vernet to Algeria. Among his best pictures
are ' A Lion Hunt,' ' A Storm at Sea,' and a copy
of Paul Potter's ' Bull.'
RADL, Anton, a landscape painter and en-
graver, born at Vienna in 1774, received his early
training in the Academy at Vienna, but in 1790
he went to Brussels, where he put himself under
the painter Kormer. Thence he went to Frank-
fort, and worked at engraving under Prestel,
whose chief assistant he became, and had a great
share in the engravings by Prestel after Euys-
dael. His chief excellence lay in his drawing,
especially of foliage, for his colouring was hard.
He died at Frankfort in 1842. His chief paintings
are 'A Wood in Summer' in the Darmstadt
Gallery, and a 'Woodland Scene' in the Stadel
Institute. He has left seventy-five views of Ger-
many in sepia and Indian ink ; while of his
aquatints the most worthy of notice are :
A Moonlight Scene ; after Van der JVeer.
A Cornfield ; after Ruysdael.
A Cattle Scene ; after Potter.
A Bear Hunt ; after Snyders,
RADOS, LuiGi, an engraver, born at Panna_ in
1780, was educated in the Academy of that city.
His principal engravings are :
The Emperor Francis II. ; after Bosio.
King Ferdinand ; after the same.
Baeburn
PAINTERS AND ENGEAVERS.
Baeburn
The Archduke Anton ; after the same.
Prince Eugene ; after Jacob.
The Last Supper ; afttrr Leonardo da Vinci.
Madonna Enthroned ; after Raphael.
A Landscape ; after Gonzaga.
RAEBURN,. Sir Henry, an eminent portrait
painter, was born at Stookbridge, now forming
part of Edinburgh, in 1756. His father was a
manufacturer, but at the age of six he was left
an orphan, and was placed at Heriot's Hospital.
At the age of fifteen he was apprenticed to a gold-
smith in Edinburgh ; but a propensity for sketching
and drawing, which he had evinced at school,
seemed more to occupy his mind than the business
of his master. On discovering this propensity, and
seeing some tolfrably executed miniatures which
he had painted, his master encouraged him in
the pursuit by introducing him to David Martin,
the leading portrait painter at that time in Edin-
burgh. The sight of that artist's pictures at once
lighted up a flame in the mind of young Baeburn,
and the kind manner in which the painter re-
ceived him made an impression which was not
obliterated when he arrived at the summit of his
reputation. By the further kindness of his master,
the goldsmith, he was permitted to practise art, and
was so successful, that in a short time he was
enabled to purchase the remainder of his appren-
ticeship, and to become professedly a painter of
portraits in miniature. As his knowledge of art
increased, so did his views expand ; but as he
had received no preliminary instruction he had
many difficulties to contend with. By perseverance
he overcame them. Martin lent him pictures with
permission to copy them, but without ofiering any
assistance as to the manner in which he was to
proceed. The elder artist, it is said, grew un-
easy, when he saw the talent of the neophyte,
and fearing that he was fostering a rival who
might hereafter dispute his supremacy, he abruptly
terminated the acquaintance. This seems to have
been the end of Baeburn's early studies. He soon
applied himself entirely to painting in oil, and his
reputation, with his application, opened to him the
doors of the rich, whose collections of pictures
afforded a better opportunity to become acquainted
with the beauties of art than he had hitherto
enjoyed. At the age of twenty-two he married
the widow of Count Leslie, a lady who had, as
a maiden, been a Miss Edgar. With her he ob-
tained a fortune which put him above money cares.
He at once repaired to London to seek the advice
of Sir Joshua Reynolds, who counselled him to go
to Rome, and study Michael Angelo. This, advice
was strengthened by an offer of pecuniary assistance
if needed, and letters of introduction to persons who
might be useful during his stay in Italy. The latter
he accepted, and with his wife departed for Rome.
After two years' residence in Italy he returned to
Scotland, and may be said to have commenced his
real professional career. He soon took the lead in
Edinburgh, and verified the justness of his former
friend Martin's apprehensions. For years, appli-
cation, improvement, and success went hand in
hand ; and he might reckon the greater part of
the distinguished men of Scotland of his time
among his sitters and friends. In 1813 he became
an associate of the Royal Academy, and in the
following year R. A., it is said without the usual
solicitation. He now again turned his thoughts
to the metropolis, and consulted Sir Thomas
Lawrence on the subject, who persuaded him to
be content with his Scottish supremacy. He took
z
the advice which Lawrence had given with so
much disinterestedness, and the portraits of the
mountain chiefs, the Macdonalds, Mackenzies,
Campbells, Bruces, Hays, Scots, Duffs, Gordons,
Douglases, Hamiltons, and many others, attest
the fulness of his practice. In 1822, when George
IV. visited Scotland, he was knighted, and the
following year appointed " His Majesty's limner
in that part of his dominions, with all the rights,
privileges, and advantages thereunto belonging."
Whatever these rights, privileges, and advantages
might be, he did not long enjoy them, for he died
in Edinburgh in 1823. It has only been within
the last few years that Raeburn's high rank in art
has been fully acknowledged. In 1876 a collection
of 825 portraits by him was brought together in
the galleries of the Royal Scottish Acadera}', and
in 1877 several of the best were at the Winter
Exhibition of the Royal Academy in London.
Since then the Scottish painter has been fast rising
in public esteem, and now he may be said to rank
next to Reynolds and Gainsborough among British
painters of portraits. The following list is con-
fined to his more notable and more accessible
portraits :
Edinburgh. JVat. Gail. Mrs. Hamilton of Kaimes.
„ „ Mrs. Kennedy of Dunure.
„ „ Mrs. Scott Monorieff.
„ „ Professor Wilson (at the age of
twenty).
„ „ Dr. Alexander Adam, Rector of
the High School of Edinburgh
from 1768 to 1809.
„ „ Et. Hon. Francis Homer.
„ „ Lord Newton (a chef d'osuvre).
I, „ John 'Wauchope.
„ „ Lady Miller.
„ „ Ool. Alastair Macdonell of Glen-
garry (on loan ; a masterpiece).
„ Nat. Po7-t. Gall. Neil Gow, the violinist.
„ Archers' Hall. Dr. Nathaniel Spens.
„ Register House. Lord Frederick Campbell.
Leith. Trinity House. Portrait of Admiral Lord Dun-
can.
London. Nat. Gall. Full-length portrait of a Lady.
„ Nat. Port. Gall. Et. Hon. Francis Horner.
„ „ Eev. John Home.
„ „ Sir John Sinclair of Ulbster.
), „ Henry Mackenzie.
Paris. Louvre. A Greenwich Pensioner.
Eobert Bell, Procurator of the Church at Scotland.
The Hon. Henry Erskine.
Et. Hon. Thomas Elder.
Dr. James Hutton.
Professor Joseph Black.
Sir 'William Macleod, Lord {of Session) Bannatyne.
Et. Hon. Sir Eobert Listou.
Lady Liston.
George, fifth Duke of Gordon [twice).
Douglas, eighth Duke of Hamilton. (Hamilton Palace.)
Commodore George Johnston.
Professor Adam Ferguson.
Sir David Dundas.
The Et. Hon. Eobert Blair of Avonton. (^Society of
Writers to H. M. Signet.)
Thomas Gledstanes (grandfather of "W. B. Gladstone),
Adam Eoland of Gask.
Eev. Sir Henry Monoriefl Wellwood, D.D., Bart.
John Eobinson, LL.D.
Sir Walter Scott, Bt. (Duke of Succleuch.)
Henry Dundas, first Viscount Melville. (Bank of
Scotland.)
William Tytler, W.S., F.E.S.B.
Henry Mackenzie.
Baron Hume.
Professor Thomas Eeid.
Bear- Admiral John Maitland.
Professor Dugald Stewart.
Archibald Constable, the publisher.
Archibald Skirving.
3^7
Baefus
A BIOGRAPHICAL DICTIONARY OF
Hagot
Eev. "W. Taylor, Principal of Glasgow University, 1803-
1823.
Daniel Stewart,
Lord Jeffrey.
Lady Eaebum.
Himself.
Many of Raeburn's portraits have been finely
engraved in mezzotint and other methods. The
best plate after him, perhaps, is Charles Turner's
mezzotint from the ' Lord Newton ' in the Scottish
National Gallery.
EAEFUS, P., (or Baefe,) a wood engraver, was
a native of Paris. He flourished about the year
1675. He, with 0. Goujon, a relation of the famous
sculptor Jean Goujon, executed the outs for a cob-
mographical work by Andr6 Thevet. His prints
are very neatly finished, and are usually marlsied
with the initials P. E. He also engraved on wood
the figures dealing with masonry in Jean Martin's
translation of Vitruvius.
EAET, (or De Raet,) Arnould, painter, work-
ing at L^au, and in Louvain and the neighbour-
hood, in the second part of the 15th century. In
1473 he settled finally at Louvain, and by his
second wife became the father of Louis Raet.
RAET, Louis, (or Loms De Scildebe,) painter,
the son of Arnould Raet. Between 1505 and
1507 he decorated the walls of the church of
L^au with paintings, which are now hidden under
whitewash.
RAETH, Ignatius, painter, born at Antwerp,
1626, a member of the Order of Jesus. He prac-
tised for some years in Spain and in Germany,
painting historical subjects and, more especially,
portraits. In the church of St. Gandolph, at Bam-
berg, there is a 'Cnicifixion' by him. He re-
turned to Flanders in 1662, and died in 1666.
RAEVBN. SeeEABEN.
RAFFABLLI, Feancesco, a native of Italy, who
flourished about the year 1705. He engraved some
historical plates of no great merit.
RAFFAELLINO DA REGGIO. See Eeggio.
RAFFAELLINO DA VITERBO. See Roman-
ELLI, GlOV. Fe.
RAFFAELLINO DEL GARBO. See Oapponi.
BAFFAELLO. See Sanzio.
RAPFALT, Ignaz, painter and engraver, was
born at Weisskirohen in Upper Austria in 1800.
He entered the Academy at Vienna. Hia earliest
Eictures were still-life, but he afterwards devoted
imself to landscapes. He died at Vienna in
1857. His principal works are :
A Mill in Obersteier.
A Snow landscape.
A Eiver Scene with a Oastle.
Soup for the Convent. 1846.
An Evening Scene with a Oastle and Bridge.
Fishermen's Huts. 1848.
Postilions returning.
Eiver Landscape with a Castle. 1853.
A Golden Wedding at Murau, in Styria.
RAFFALT, Johann Gualbekt, a son of Ignaz
Raffalt, was born at Murau in Styria in 1834. He
studied at Vienna under Pettenkofen, and after-
wards travelled in Hungary and Dalmatia, the
scenes of many of his pictures being placed in this
latter country. He died at Rome in 1865. His
principal works are :
Annual Fair in Hungary.
A Gipsies' Gamp.
Pusztabrunnen, Hungary.
Calf -market, Hungary.
The TVaggon.
338
RAFFET, Denis Augustb Mabie, a French
draughtsman, lithographer, and painter, born at
Paris in 1804. He lost his father, a soldier, while
young, and learnt drawing during apprenticeship
to a turner. Entering the Boole des Beaux Arts
in 1824, he studied under Gros and Charlet.
In 1826 he published an album of lithographed
studies, the first of a series which had a great
success. His subjects were scenes from military
life, to which he remained faithful throughout his
career. In 1832 he went to the siege of Antwerp,
and three years later exhibited a fine series of
lithographs from the sketches he made there.
The patronage of Prince DemidofB enabled him to
make extended travels in Buroj^ and Western
Asia. During these tours he accumulated ma-
terials for a large number of valuable lithographs.
In 1849 Raffet went to Italy, and drew the various
picturesque costumes and uniforms that were to
be found in the still divided country. After the
siege of Rome his time was spent either at Paris
or at Prince Demidoif's villa at San Donato, near
Florence. In 1853 the two friends went to Spain,
and when the painter died he left incomplete the
resulting album of sketches. EafEet always had
the pencil in his hand, and his innumerable litho-
graphs form a valuable chronicle of the scenes
visited by himself and his friends. Perhaps the
series in illustration of the ' Expedition des Portes-
de-fer ' is the best. It is said that he was more
than once commissioned to paint a picture for
Versailles, but always postponed it to his favour-
ite lithographs. Eafi'et died at Genoa in 1860.
Amongst his best works are :
Eevue des Ombres.
The Evening after the Battle of Novara.
Capture of Coblentz.
Night Eeview by Napoleon.
RAGBNEAU, Jacques, painter, practising at
the court of France in the first half of the 17th
century, was appointed to the household of
Marie de' Medici. He died in 1658.
RAGGI, PiBTEO Paolo, was born at Vienna
about the year 1650 ; but his parents removing
from thence to Genoa when he was young, he
received his first education in art in that city,
though it is not known by whom he was instructed.
His picture in the Nunziata del Guastato, at Genoa,
representing St. Bonaventura, is in the style of the
Oarracci, and is mentioned by Ratti as a production
of great merit. After visiting Turin and Savona,
he established himself at Bergamo, where he painted
several pictures for the churches and private col-
lections. In the church of St. Lorenzo is an admired
picture of the ' Annunciation ' ; and in St. Marta,
' Mary Magdalene taken up into heaven.' He also
distinguished himself as a painter of landscapes,
which he embellished with figures representing
pastoral or bacchanalian subjects, painted in the
style of Benedetto Castiglione and Giulio Carpioni.
He died at Bergamo in 1724.
RAGOT, PKANgois, a French engraver, born at
Bagnolet in 1641. He engraved some plates after_
Simon Vouet and Charles Le Brun ; but he is
chiefly distinguished for his ability in copying the
prints engraved by Bolswert, Pontius, and Vorster-
mans, after the works of Rubens and Van Dyck.
He executed about forty of these copies with such
accuracy and precision, that they have been mis-
taken for the originals by inexperienced collectors.
He is also said to have engraved a few portraits.
Bagueneau
PAINTERS AND ENGRAVERS.
Baibolinl
EAGUENEAU, (or Raqdineau,) A,, painter, was
writing-master to William III. of Orange. He
painted several portraits of Prince Frederick Henry,
two of which were for the parliament of Orange,
1667.
I RAHL, Karl, a German historical and portrait
painter, born in 1812, at Vienna. He studied in
the Academy of that city, and at the age of twenty
gained the great prize for his ' David in the Cave
• of AduUam,' which enabled him to complete his
art training at Rome. On his return to Vienna he
obtained a high reputation, and a large number
of pupils passed through his studio. Politics oc-
cupied his attention almost as much as art, and
more than once he had to leave Vienna through
his inconvenient opinions. He practised fresco
painting, and many of his works are to be seen in
his native city, where he died in 1865. The Palais
Todesco, the fa9ade of the Greek Church, the
interior of Baron Sina's palace, all at Vienna ; a
Banqueting Hall at Oldenburg ; and some other
buildings were decorated by him. The following
are also good examples of his art :
Berlin. Gallery. Surprise of the Christians in tlie
Boman Catacombs.
Hamburg. Gallery. Manfred at Luceria.
„ „ Manfred at Benerento.
Munich. Neio Pinaco- \ Portrait of Martin Wagner,
thek. J Sculptor.
Vienna. Gallery. Scene from the 'Niebelungen
Lied.' 1835.
RAHL, Kael Heineich, an engraver, was born
at Heilbronn in 1779. His father, a calico printer,
apprenticed him to a silversmith, under whom he dis-
played the first signs of his talent by etching small
landscapes. In 1799 he went to Vienna to study
under Piiger, maintaining himself meanwhile by
the proceeds of the sale of his works. In 1816 he
became a Fellow of the Academy ; in 1829 chief
engraver ; and in 1839 Professor. He died at
Vienna in 1843. There is great power about his
work, but an absence of delicacy. His principal
plates are :
Job and his Friends ; aft&r Wdchter.
The Blind Beggar ; after the same.
Presentation in the Temple ; after Fra Bartolommeo.
' La Notte ; ' after Correggio.
The Battle of Aspern ; after Kraft.
RAHN, Rudolph, engraver, born 1805, at Zurich,
where he first studied. He came to Paris to com-
plete his education, and finally settled at Munich.
He engraved some excellent plates for Kaulbach's
'Reineke Fuohs,' jointly with Ad. Schleioh.
We may also mention his portrait of Winckel-
mann after Angelica Kaufmann.
RAIBOLINI, Fbancbsco di Mabco (commonly
called II Fbanoia), was born at Bologna in the
year 1450. His father was a carpenter, but although
belonging to the artisan class, his family was
highly respected, and owned lands in the neigh-
bourhood. Francesco is said to have been re-
markable for the charms of his person, manner,
and conversation, which made him a general
favourite, so that he numbered the noblest families
of Bologna among his friends. He began life in
the goldsmith's shop, and acquired considerable
reputation by his designs for coins and medals,
his gold and silver enamels, and especially his
works in niello. Giovanni Bentivoglio II., the
reigning prince at Bologna, became a munificent
patron of Francia, and appointed him to be the
Master of tlie Mint, an oifice which he held until
z 2
the end of his life. Most of his goldsmith's work
was executed for this prince, and perished at the
destruction of his palace. Francia's first inclination
to the study of painting is attributed to the in-
fluence of a visit paid by Andrea Mantegna to
Bologna in 1472 ; and his earliest instruction in
the art has long been said to have been received
from Marco Zoppo. This, however, Signor Morelli
disputes, and maintains that no sign of Zoppo's
influence is to be traced in Francia, whom he
looks upon as the pupil of Costa, and partly of
Francesco Cossa and Ercole Roberti de' Grandi.
One of Francia's earliest known works, a small
' Crucifixion,' in the Public Library of Bologna —
executed, Morelli thinks, in 1791 — shows the in-
fluence of both those masters in the fine colour
and good expression of the heads, while the
draperies have the rather harsh folds of the niellist.
Anotlier excellent example of his earliest work is
the ' St. Stephen ' of the Borghese Gallery at Rome ;
and another is the portrait of Bartolommeo Bian-
chini, formerly in the Northwick collection under
the name of Raphael. A picture in the Berlin
Museum, representing the ' Holy Family,' was
painted by Francia for this Bartolommeo, who wag
a senator in Bologna. An altar-piece, now in the
Bologna Gallery, was painted for the same patron.
It has been often declared, with insufficient justifi-
cation, that the earlier works of Francia are Umbrian
in feeling, being affected by the example of Peru-
gino, as seen in pictures brought to Bologna. His
early manner seems to have been entirely Ferrarese,
and so like that of Costa, that works by the one
have been often ascribed to the other. That the
two worked intimately together is proved by the
fact that a predella painted by Costa forms a part
of an altar-piece by Francia in the Bologna Gallery.
From about the year 1500 there is a gradual change
perceptible in the style of Francia's painting. This
has been attributed to his friendship with Raphael,
and his study of Raphael's work. But within the
last few years great doubts have been thrown upon
the existence of any such immediate friendship,
and upon the documents, the letter and sonnet
published by Malvasia, on which its acceptance
depends. These were published for the first time
in ' Felsina Pittrice,' in the year 1678, and it seems
unlikely that if Malvasia had really possessed their
originals, nothing would ever have been found of
them. The later style of the master, which he
owed in all probability as much to his own
maturing powers and to the influence of Costa
as to the influence of any work of Raphael that
came before his eyes, is to be seen at its best
in the great altar-piece of the National Gallery,
especially the lunette, in a series of frescoes which
he executed for the chapel of St. Cecilia, and
in the Madonna of the Rose Garden, at Munich,
In 1511, on the return of the Bentivogli to Bologna,
Francia was elected one of the Gonfalonieri of the
people ; in 1612 he was re-elected to the Master-
ship of the Goldsmiths' Guild, and in 1614 he
attained a dignity described as " Master of the
Four Arts." Vasari says of him that " he was
reverenced as a god in Bologna, and not even his
admiration for Raphael, and his desire to see the
larger works of the great painter, could tear him
away from his native city." It is said that he
had as many as two hundred pupils ; the best of
whom passed into the school of Raphael. His
two sons Giacomo and Giulio also became painters,
and the works of the former are often wrongly
339
Baibolini
A BIOGRAPHICAL DICTIONARY OF
itaibolini
Berlin.
Bologna, Fznacoteca.
attributed to Franoia himself. Franoia died on the
6th of January, 1517, and was probably buried in
the church of San Francesco, where the remains of
Giacomo are also placed. His place in the history
of art is by the side of Perugino. Together with
that master he illustrates the highest capabilities
■of the quattrocento tradition. His existing works
are numerous. The following list includes the
more notable and the more accessible among
them :
Virgin and Child enthroned,
with Saints.
Holy Family.
The Dead Christ between
Two Angels.
The Annnnciation, and the
Saints George, Bernardino
of Siena, Francis of Assisi,
and John the Evangelist.
(Signed feancia aueifex
B., PINXIT MOCCCC.)
Virgin and Child, with Saints.
Virgin and Child, with Saints.
{Signed opus feanclze
AUErFIOISMCCCCLXXXXIiri.)
The Annunciation, with St.
John the Baptist and St.
Jerome.
The Madonna enthroned be-
tween Saints (John the
Baptist, Augustine, George,
Stephen), and an Angel
with fleurs-de-lis.
The Crucifixion, with Saints
(Jerome, John the Baptist,
Francis of Assisi, and Mary
Magdalen). Signed fean-
cia ATmiP.
The Virgin adoring the In-
fant Christ, with SS.
Joseph, Augustine, and
Francis, and two Angels.
The portraits of the Donor,
Ant. Galeaz, Bentivoglio,
and of Girolamo Pandolfi
de Casio, the poet, are also
introduced.
Two pad, in niello: a * Kesur-
rection' and a 'Cruci-
fixion.'
The Virgin and Child, with
St. Francis.
Vu-gm and Child, with SS.
Paul and Francis. (From
the Church of the SS.
Annunziata.) Inscribed
Joannes Seappus oh ivima-
turum Lactantifitii ohitum
pientissimo ajfectw hoc Vir-
gini et Paulo dicavit.
A Crucified Christ, with the
Virgin, the Magdalen, and
SS. Francis and Jerome;
(The signature, feakoia
AUEiFE, is doubtful.)
God the Father. SmaU half-
length figure, inscribed
PETEONIO BUEQUGNINO
MASAEIO, JO. FEANOISOO
MASINO PEIOEE, AC PETEO
ANTONIO BOLETTA DEPOSI-
TAEIO, NEC NON HBECDLE
GEmANTO CONSEEVATOEE,
FEANCIA AUEIFEX FACIE-
BAT, A. MDXIIII.
An Enthroned Virgin with
Saints, crowned by a Piet4,
in a lunette.
Adoration of the Magi.
Vbgin and Child (the Child
with a Bird).
Baptism of Christ. (Signed
„ Gall. Zambeecari
da San Paolo.
„ Pal. Conmnale.
Gal. Sercolani.
Dresden.
St. Martina
Maggiore.
Gallery.
Florence. IJffizi.
Hampton Court.
London. National Gallery.
„ CoU.of Lord Dudley.
Lucca. San Frediano.
„ Gal. Mansi da San
Pellegrino.
Milan. Brera.
„ Foldi Pezzoli Coll.
Munich.
Paris.
Gallery.
Louvre.
Parma. Acad, degli Belle
Arti.
Petersburg. Hermitage.
340
Turin.
Gallery.
FEANCIA AUEIFEX BON. F.
M. T. VIII.)
Portrait of Evangelista
Scappi. (Half-length.)
The Baptism of Christ.
(Signed FEANOIA adeifex
eonon).
The Virgin enthroned with
the Infant Christ, St.
Anne, and Saints (on the
left SS. Sebastian and Paul;
on the right, SS. Lawrence
and Eomuaidus; in front,
the young St. John).
Signed feancia aueifex
BONONIBNSIS P.
The Virgin and two Angels
with the Dead Body of
Christ (the lunette of
the last-named). These
two pictures, which form,
perhaps, the masterpiece
of Francia, were painted
for the Buonvisi chapel in
the church of San Fredi-
ano at Lucca.
The Virgin and Child, with
two Saints (half-length
figures before a landscape
background).
The Virgin giving a Fruit to
the CMld. (Inscribed jaco-
bus GAMBAEUS BONON. PEE
FEANOIAMACEIFABEUMHOO
OPTJS FiEEi CDEAvrr. 1495.)
The Assumption.
A Virgin and Child, most
carefully finished.
The Annunciation.
St. Anthony of Padua, with
a landscape background.
The Madonna adoring the
Infant Christ in an en-
closure of roses. (Signed
feancia AUEIFEX BONON. .)
Virgin and ChUd (the Child
playing with a Finch).
The Nativity; the Child
adored by His Mother, St.
Joseph, and two Angels;
against a background of
mountains.
The Crucifixion ; Job is ex-
tended at the foot of the
Cross : on either side stand
the Virgin and St. John.
(Signed feancia auei-
FABEE.) According to
Vasari this picture was
painted for the church of
Saint Job, at Bologna.
Enthroned Madonna with
Saints (Giustina and Bene-
dict, Scolastica and Placi-
dus, St. John the Baptist).
, (Signed F. feancia aitbi-
FEX BONONIENSIS M. D. XV.)
The Virgin and Child; in
the background the ' Eesnr-
rection' and the 'Trans-
figuration.' (Signed F.
PEANCIA.)
The Virgin and Child en-
throned among Saints.
Inscribed DS. ihdovicds
DB CAtCINA. — DECEETOKV
BOOTOE OANONICVS — S. P.
BON. EEDIFIOATOE AUCTOEa
DOMUS ET EESTAUEATOB
— BTJVS ECLESI2E FECIT
FIEEI — P. ME FEANCIAM
AUEEFICEM BONON. ANO
MOCCCC.
The Deposition m the Tomb.
Raibolini
PAINTERS AND ENGRAVERS.
Haimondi
Vienna. Gallery. Enthroned Madonna -with
Saints (Francis, Catharine,
and John the Baptist).
((SiynStZPEANCIAAUEirABEE
BONO.)
„ Liechtenstein Coll. Portrait of a Dnke of TJrbino
(?), formerly assigned to
Baphael.
As to Francia's right to be catalogued as an en-
graver there has been much discussion. Some
proofs on paper ot his nielli have reached us
(eight are described by Passavant), and he is
stated by Calvi to have engraved on copper. Dr.
Waagen thought the print in the British Museum
inscribed ' Guerino dit Meschi ' was his. He is be-
lieved, too, to have engraved the italic characters
first used by Aldus in the 1501 edition of Virgil.
BIBLIOQEAPHT. ^'^'
Crowe and Cavalcaselle, ' History of Fainting in North
Italy,' Vol. I. p. 556-83.
Kugler's ' Handbook to the Italian Schools of Painting '
(Layard's Edition, 1887), Part II. p. 364.
Milanesi's ' Vasati,' Vol. III. p. 533.
Morelli's ' Italian Masters in German Galleries,' p. 56.
Minghetti's ' Eaffaelo,' p. 66.
Calvi, ' Memorie della vita &c. di F. Eaibolini ' (Bologna,
1812).
Passavant, * Le peintre graveur,' pp. 197 — 223.
' Macmillan's Magazine ' for February, 1874.
Waagen, ' Art Treasures,' Vol. I. p. 247.
(Sir) A. Panizzi, ' Chi era Francesco da Bologna ' (printed
for private circulation, 1856. Second edition, with a
new appendix, 1873).
RAIBOLINI, GiACOMO, the elder son of Fran-
cesco Raibolini, called Fbancia after his father,
was born about 1484. He studied under his
father, and acted as his assistant. He executed
two of the frescoes in the chapel of St. Cecilia at
Bologna, namely, the ' Baptism of Valerian,' and
the 'Martyrdom of St. Cecilia.' Hia masterpiece,
perhaps, is the beautiful ' Madonna seated with SS.
Francis, Bernard, Sebastian, and Maurice,' dated
1626, in the Pinaooteoa at Bologna, although hie
' St. Michael,' in San Domenico, is also very fine.
Late in life Giacomo came under the influence of
Dosso Dossi, as may be gathered from his two en-
throned Madonnas at Milan. Giacomo died in 1557.
By him :
Berlin. Gallery. The Virgin in Glory (Jointly
with Ms brother Giulio).
„ ,, Chastity.
„ „ Madonna with Saints.
Bologna. Finacoteca. Two Madonnas.
„ „ Virgin with Saints.,
„ San Stefano. Christ on the Cross.
„ San Giovanni. Christ as a Gardener^
„ SS. Annunziata. The Entombment.
„ San Domenico. The Archangel Michael.
Florence. Fitti Gall, A Portrait.
Madrid. Museum. A Devotional Picture with St.
Margaret in the centre.
Milan. Brera. Two enthroned Madonnas.
Parma. S. Giovanni. Adoration of the Shepherds.
A few scarce prints, dated about 1530, and signed
I. F., are ascribed to Giacomo Raibolini. Among
them we may name, ' A Muse,' ' Cleopatra,' and
' Venus and Amor.'
RAIBOLINI, Giulio, younger son and pupil of
Francia, was a painter of mediocre talents. He
was bom in 1487. He worked jointly with his
brother on the pictures named below, which are
now in the Bologna and Berlin Galleries respect-
ively. He died in 1540.
Berlin. Museum. The Virgin in Glory.
Bologna.. Finacoteca. Four Saints. (Both signed
J. J. Feancia.)
RAIMBACH, Abkaham, engraver, bom in Lon-
don in 1776. His father was a Swiss by birth,
but had come to England at an early period of his
life, and never left it. After receiving his educa-
tion at Archbishop Tennison's Library School, the
son was apprenticed to J. Hall, the engraver, and
the first work of the young apprentice was the ex-
planatory key to the engraving of Copley's ' Death
of Chatham,' now in the National Gallery. After
Ifis apprenticeship he entered as a student at the
Royal Academy, and took what casual employ-
ment he could obtain from the booksellers, and
also occupied himself with miniature painting. He
found the latter irksome, and abandoned it finally
for engraving. The plates he executed for Smirke
and Forster's edition of the 'Arabian Nights' made
known his ability, and were also profitable. In
1812 he became David Wilkie's engraver, and the
first work of that distinguished painter that he
transferred to copper was 'The Village Politicians,'
the next was 'The Rent Day,' and these were
followed at intervals by 'The Cut Finger,' 'The
Errand Boy,' 'Blindman's Buff,' 'Distraining for
Rent,' 'The Parish Beadle,' and 'The Spanish
Mother and Child.' After Reynolds he engraved a
'Venus ' and the 'Ugolino.' Raimbach, it is said,
never employed an assistant, but executed the
whole of his plates himself. His prints after
Wilkie are masterly works. They were boldly
engraved, to enable the publishers to take numer-
ous impressions, and therefore appear somewhat
deficient in artistic freedom and delicacy of exe-
cution. They are, however, suited to the subjects,
and very faithful to Wilkie's characters. Raimbach
died at Greenwich .in 1843. Besides the plates
above named, he is also responsible for the follow-
ing :
Leonard Parkinson, a Maroon Chief ; afler a drawing
hy Meiz (Edwards's ' Maroon War ').
lUustrabions for Cooke's ' Tales of the Genii.'
Illustrations for Forster's ' Arabian Nights.'
Five plates for ' Rasselas.'
Plates for Sharpe's ' Spectator,' ' Tatler,' and ' Guar-
dian.'
Plates for ' Don Quixote.' (Longman : 1818.)
Frontispiece to Scott's ' Arabian Nights.'
Initiation into the Mysteries of Isis ; after Smirke, for
Barlow's ' Columbiad.'
Bape of the Golden Fleece ; the same.
A biography of Raimbach was privately printed
by Frederick Shoberl in- 1843.
RAIMONDI, Maro Antonio, the most famous
and the finest of Italian engravers, was born at
Bologna .towards the end of the 15tli century,
according to Passavant in 1488. But there is much
doubt as to his dates, some authorities putting his
birth as early as 1470, and his death as late as
a century afterwards. Most probably, however,
he was a year or two younger than Raphael, while
we have no trace of his existence after 1627, the
year of the sack of Rome. His first master was
Francia, who taught him to work in niello. He
may have had another master for part of the
technical work of the goldsmith's engraver. By
the year 1505 he had engraved a plate for its own
sake, a 'Pyramus and Thisbe,' and had made a
journey through Upper Italy to Venice. About
1508-10 he was engaged, in Venice, in making
copies of seventeen of Albert Diirer's cuts from
the 'Life of the Virgin,' of the thirty-six cuts of
the ' Little Passion,' and of the ' Adam and Eve.'
Whether Marc Antonio did this with a fraudulent
intention ot not has been much disputed, but
341
Kaimondi
A BIOGEAPHICAL DICTIONARY OP
Baimondi
there seems to be no doubt as to his desire to
profit, in an unfair way, by Diirer's reputation,
for to the seventeen plates from the ' Life of the
Virgin ' he affixed the Nuremberger's mark, while
the ' Adam and Eve ' is signed thus :
ALBERT
DURER
NORICOS
PACIEBAT
1504
exactly as the original is signed. The 'Little
Passion ' is marked with Diirer's tablet, in_ blank,
much as Raimondi afterwards marked his own
works. This, perhaps, was due to the represent-
ations made, as Vasari tells us, by Diirer, who very
probably made use of his favour with the Emperor
to get the prohibition to which Vasari refers made
efEective against the use of his name by the Italian
engraver. It is not likely that he actually jour-
neyed to Venice to prosecute his complairit. Marc
Antonio's copies after Diirer are as faithful as
copper-plates after woodcuts, by an artist with a
great original genius of his own, could be expected
to be.
About 1510 Marc Antonio was in Florence, and
there engraved the famous plate after Michel
Angelo's Cartoon of Fisa, which is known as
' The Climbers ' {Les Grimpeurs). About a year
later he went to Rome, where he at first continued
his imitation of Diirer. Soon, however, he enrolled
himself among the followers of Raphael, and
worked for eight or nine years under his super-
vision. Eor a time he seems to have worked in
Raphael's studio, but he afterwards set up a studio
of his own, where he received pupils, among whom
the most famous were Agostino di Musi and Marco
Dente da Ravenna. No doubt much of the per-
fection to which the art was brought in this
atelier was due to the taste of Raphael, for the
spirit in which Raimondi engraved was curiously
akin to that which distinguishes the Urbinate's
work with the point. Design, expression, and purity
rather than richness of technique, are the merits
aimed at. Many of Marc Antonio's plates are
after lost designs of Sanzio, while many others
reproduce compositions still extant, but reproduce
them with variations, suggested most likely by the
master. After Raphael's death, in 1520, Raimondi
engraved after Giulio Romano. This connection
brought him into disgrace and into prison. Giulio
made a series of twenty indecent designs in illus-
tration of sonnets by Pietro Aretino. These Marc
Antonio engraved, and so scandalized Pope Cle-
ment VII., that he was clapped into prison. At
the intercession of the Cardinal Ippolito de' Medici
and of Baccio Bandinelli he was released, and
set to work on his plate of the ' Martyrdom of
St. Lawrence,' after Bandinelli. The engraving
when finished was submitted to the Pope, who
was so pleased with it that he at once took
its author under his special protection. Baccio,
on the other hand, was not satisfied, and com-
plained to Clement that his work had not been
faithfully rendered. The Pope thereupon com-
pared the design with the engraving, and decided
that Raimondi had improved upon Bandinelli.
The original red chalk drawing by the latter is
in the Cabinet at Munich. In 1527 Marc Antonio
lost all he had at the siege and subsequent sack
of Rome. He fled to Bologna, and nothing more
is known of him. From a statement by G. A. di
;Niccolini di Sabio, however, we may fairly con-
342
elude that he was no longer alive in 1534. For
three centuries Marc Antonio has enjoyed a reput-
ation among reproductive engravers comparable to
that of Raphael among painters. Fine impressions
of his best plates have steadily increased in value,
until now they excite as fierce a competition at
sales as the rarest plates of Rembrandt. His
ceuvre may be divided into four classes : first, the
pieces he executed during his early days under
the shadow of Francia ; secondly, his imitations
of Diirer, and other productions before his journey
to Rome ; thirdly, his work under Raphael ;
fourthly, his work after Raphael's death. In works
belonging to the first class, the hardness of the
niellatore and the immaturity of the youthful
artist are both visible. In those of the second,
the burin is managed more freely, and the in-
dividuality of a true artist is more traceable. In
those of the third period the masterpieces of
Raimondi are to be found. It begins with ' The
Climbers,' which may have been finished at Rome,
and includes 'The Massacre of the Innocents,'
'The Judgment of Paris,' 'The Dance of Cupids,'
' The Five Saints,' the ' Luoretia,' &c. The fourth
period is marked by less care in drawing, less
delicacy in the management of the burin, less pa-
tience, and a greater toleration for mannerism in
the works reproduced ; these were mostly fi-om
the hand of Giulio Romano. The following list
of Marc Antonio's plates is taken from Passavant,
but Bartsch's numbers are also given. ^ j^^
1. Adam and Eve. (B. 1.)
2. Adam and Eve driven from Paradise. (B. 2.)
3. God appearing to Noah. (B. 3.)
4. Joseph and Potiphar's Wife. (B. 9.)
5. David beheading Goliath. (B. JO.)
6. David with the Head of GoUath. (B. 11.)
7. David with the Head of Goliath. (B. 12.)
8. The Nativity. (B. 16.)
9. The Massacre of the Innocents (without the ' Chi-
cot'). (B.20.)
10. The Feast at Simon's House. (B. 28.)
11. The Last Supper. (B. 26.)
12. The Entombment. (B. 30.)
13. The Descent from the Cro-ss. (B. 32.)
14. Pieta,. (B. 35.)
15. The Marys weeping over the body of Christ. (B. 37.)
16. The Descent into Limbo. (B. 41.)
17. S. Paul at Athens. (B. 44.)
18. The Marys on the Steps. (B. 45.)
19. The Virgin Enthroned. (B. 46.)
20. The Virgin in Glory. (B. 47.)
21. The upper part of the Poligno Madonna. (E. 52.)
22. The Virgin with the long thigh. (B. 57.)
23. The Holy Family ; after Michaelangelo. (B. 59.)
24. Holy Family. The Virgin suckling the Infaut
Christ. (B. 60.)
25. The Virgin with the Palm-tree. (B. 62.)
26. The Madonna with the Cradle. (B. 63.)
27-39. Jesus and the Twelve Apostles. (B. 74-76.)
40. S. Cristcpher. (B. 96.)
41. S. Francis. (B. 97.)
42. S. George. (B. 98.)
43. S. John Baptist. (B. 99.)
44. S. Jerome kneeling before a Crucifix placed in a
tree trunk. (B. 101.)
45. S. Jerome with the small Lion. (B. 102.)
46. The Martyrdom of S. Lawrence. (B. 104.)
47. S. Sebastian. (B. 109.)
48. S. Francis, S. Anthony of Padua, and S. John of
Capistran. (B. 110.)
49. The Five Saints. (B. 113.)
50. Saint Catherine. (B. 115.)
51. S. Cecilia, with four other Saints. (B. 116.)
52. The Martyrdom of S. Cecilia. (B. 117.)
53. Saint Margaret. (B. 118.)
54. SS. Lucy, Catherine, and Barbara. (B. 120.)
55-67. Christ and the Twelve Apostles. (B. 124.)
68. Christ on the Cross. (B. 137.)
Baimondi
PAINTERS AND ENGRAVERS.
Baimondi
69. The Holy Trinity. (B. 138.)
70. The Virgin standing. (B. 139.)
71. The young Tobias and the Guardian Angel. (B. 140.)
72. S. Anthony. (B. 141.)
73. S. Anthony o£ Padua. (B. 142.)
74. S. Benedict. (B. 143.)
75. S. Bernard. (B. 144.)
76. S. John of Capistran. (B. 145.)
77. S. Christopher. (B. 146.)
78. S. Stephen. (B. 147.)
79. S. Francis of Assisi. (B. 148.)
80. The Archangel Gabriel. (B. 149.)
81-2. S. John Baptist. (B. 150-1.)
83. S. Jerome. (B. 152.)
84. Job. (B. 153.)
85. S. Joseph. (B. 154.)
86. S. Lawrence (S. Leonard). (B. 155.)
87-8. S. Lawrence. (B. 156-7.)
89. S. Michael. (B. 158.)
90. Lazarus. (B. 159)
91. S. Nicholas of Tolentmo. (B. 160.)
92. S. Peter Martyr. (B. 161.)
93-5. S. Koch. (B. 162-4.)
96-8. S. Sebastian. {B. 165-7.)
99. S. Vincent. (B. 168.)
100. A Penitent Saint. (B. 169.)
101. S. Agatha. (B. 170.)
102. S. Agnes. (B. 171.)
103. S. Anne, the Virgin and Child. (E. 172.)
104. S. Apollonia. (B. 173.)
105. S. Barbara. (B. 174.)
106. S. Catherine. (B. 175.)
107. S. Catherine of Siena. (B. 176.)
108. S. Cecilia. (B. 177.)
109. S. Helena. (B. 178.)
110. S. Lucy. (B. 179.)
111. The glorified Magdalen. (B. ISO.)
112. S. Margaret. (B. 181.)
113. S. Martha. (B. 182.)
114. S. Petronilla. (B. 183.)
115. Death. (B. 184.)
116. The Rape of Helen. (B. 209.)
117. Alexander placing Homer's poems in the tomb of
Achilles. (B. 207.)
118-121. The Four Roman Knights. {B. 188-191.)
122. Dido. (B. 187.)
123. Lucretia. (B. 192.)
124. Cleopatra (Ariadne). (B. 199.)
125. Cleopatra. (B. 200.)
126. The Triumph of Titus. (B. 213.)
127. The Plague of Phrygia. (B. 417.)
128. Parnassus. (B. 274.)
129-131. Jupiter, Mars, and Diana. (B. 253-255.)
132. Vulcan, Venus, and Cupid. (B. 326.)
133-135. Jupiter embracing Cupid; Mercury descending
in search of Psyche ; Cupid and the Three Graces.
(B. 342-344.)
136. Mars, Venus, and Cupid. (B. 345.)
137. The Judgment of Paris. (B. 245.)
138. The Qms Ego, or Neptuiie calming the Storm. (B.
252.)
139. Venus and two Cupids. (B. 251.)
140. Venus appearing to .ffiueas. (B. 288.)
141. Venus after the Bath. (B. 297.)
142. Venus stooping to kiss Cupid. (B. 311.)
143. Venus rising from the Sea. (B. 312.)
144. Venus crouching. (B. 313.)
145. Pallas standing on a Sphere. (B. 337.)
146-161. Apollo, Minerva, the Muses/ and five other
figures. (B. 263-278.)
162. The Apollo Belvedere. (B, 331.)
163. Apollo with left arm upraised. (B. 332.)
164. A Replica of the last. (B. 333.)
165. The Standing Apollo. (B. 335.)
166. Apollo, Hyaointhus, and Cupid. (B. 348.)
167. Dance of Cupids. (B. 217.)
168. Cupid and Three Children. (B. 320.)
169. Hercules — full-face — standing in a niche. (B. 256.)
170-173. The Labours of Hercules. (B. 289-292.)
174. Hercules strangling Antaeus. (B. 346.)
175. Two Fauns carrying a Child in a Basket. (B. 230.)
176. Bacchanalia, or The Offering to Priapus. (B. 248.)
177. A reversed Replica of the last, in which the Satyr is
on the left of Priapus. (B. 249.)
178. A Satyr clasping a Nymph with his left arm, and
defending himself against a Young Man. (B. 279.)
179. A Satyr seated, and a Child. (B. 281.)
180. Nymph surprised by Satyr. (B. 285.)
181. Two Votaries of Bacchus, one young and one old.
(B. 294.)
182. Faun and Child. (B. 296.)
183. The two Satyrs and the Nymph. (B. 305.)
184. Pan and Syrinx. (B. 325.)
185. Nymph surprised by Satyr. (B. 319.)
186. The Vintage of Bacchus. (B. 306.)
187. Cupid rising from the Sea. (B. 293.)
188. The Three Graces. (B. 340.)
189. Orpheus and Borydice. (B. 282.)
190. Orpheus delivering Eurydice from the Infernal
Regions. (B. 295.)
191. Orpheus seated, playing the Violin. (B, 314.)
192. The Triumph of Galatea. (B. 350.)
193. Bacchus and Ariadne,
194. Pyramus and Thisbe. (B. 322).
195. The ' Loves of the Gods '
1. The Torso of a Woman, her head on a cushion.
2. A Bearded Man and part of a Leg.
3. 4. Figures of Young "Women. »
5. Back View of a Head.
6. Head turned to the Right, embraced by a Man's Arm.
7. Head turned to the Left.
8. Head of a Young Woman.
9. Figure of a Young Man, standing, and stretching
out his Right Arm. (These nine fragments are
all that is left of the plates which brought Bai-
mondi into disgrace with Pope Clement. They
are quite inoffensive. A complete set, however,
belonged to the collector Mariette, and after his
death passed into the French Royal Library.
They have been either lost, stolen, or destroyed.)
Trajan crowned by Victory. (B. 361.)
Fortune holding a sail swelled by the Wind. (B.
362.)
Love of Fame. (B. 363.)
Time.
Prudence. (B. 371.)
Strength. (B. 375.)
Temperance. (B. 376.)
Philosophy. (B. 381.)
Poetry. (B. 382.)
-211. The Seven Cardinal Virtues. (B. 386—392.)
Peace. (B. 393.)
' Amadous, Austeritas, Amititia, Amor.' (B. 355.)
The Four Doctors. (B. 404.)
' Le Baton Courb^.' (B. 369.)
The Woman with the Crescent. (B. 354.)
The Man with two Trumpets. (B. 356.)
Raphael's Dream. (B. 359.)
The Young Man with the Firebrand. (B. 360.)
Man and Woman holding a Sail. (B. 364.)
The Old Shepherd and the Youth. (B. 366.)
The Old Man and the Man with the Anchor. (B.
367.)
Woman with Winged Head. (B. 368.)
Man Beaten with a Fox's Tail. (B. 372.)
Woman with two Sponges. (B. 373.)
The Man and Woman with Globes. (B. 377.)
Young Woman watering a Plant. (B. 383.)
Man whipping Fortune. (B. 378.)
Man showing a Woman a Hatchet. (B. 380.)
Young Man with a Lantern. (B. 384.)
Two Naked Men, standing. (B. 385.)
Serpent speaking to a Young Man. (B. 396.)
The Two Women and the Zodiac. (B. 397.)
The Violin-Player, and the Three Naked Women.,
(B. 398.)
Young Woman in Classic Dress, between Two Men.
(B. 399.)
' II Stregozzo,' or ' Sorcery.' (B. 426.)
Man Crowning an Eagle. (B. 428.)
The Shepherd and the Nymph. (B. 429.)
Old Man and Young Woman. (B. 430.)
The Old and the Young Shepherd. (B. 431.')
Young Mother conversing with Two Men. (B. 432.)
Man Kneeling at the outskirts of a Wood. (B. 434.)
Man Asleep at the entrance to a Wood. (B. 438.)
The Old Shepherd and the Young Man with the
Violin. (B. 435.)
343
196.
197.
198.
199.
200.
201.
202.
203.
204.
205-
212.
213.
214.
215.
216.
217.
218.
219.
220.
221.
222.
223.
224.
225.
226.
227.
228.
229.
230.
231.
232.
233.
234.
235.
237.
238.
239.
240.
241.
242.
243.
244.
Kaimondo
A BIOGEAPHICAL DICTIONARY OF
Kamberg
245. The Old Man and the fat Young Man. (B. 436.)
246. "Woman tearing her Hair. (B. 437.)
247. The Lion Hunt. (B. 422.)
248. Emperor sitting. (B. 441.)
249. Another Emperor sitting. (B. 442.)
250. Woman meditating. (B. 443.)
251. The Deformed Young Man. (B. 446.)
252. The Cardinal at Market. (B. 459.)
253.. The Pilgrim. (B. 462.)
254. The Climbers. B. 487.)
255. One of the Climbers. (B. 488.)
256. Man bearing the base of a Column (B. 476.)
257. Man with a Flag. (B. 481.)
258—269. The Twelve Csesars. (B. 501—513.)
270. Equestrian Statue of Marcus Aurelius. (B. 514.)
271. Constantino the Great. (B. 495.)
272. Pope Leo XII. (B. 493.)
273. Pope Adrian VI. (B. 494.)
274. Charles V. (B. 497.)
275. Raphael resting. (B. 496.)
276. The Poet Alexander AchiUini. (B. 469.)
277. Pietro Aretino. (B. 513.)
278. The Perfume Tase for Francis I. (B. 538.)
279. The Fa9ade with Caryatides. (B. 538.)
280. The Three Marys.
281. SS. Lucy, Catherine, and Barbara.
282. The Triumph of Neptune.
283. The Glorified Magdalen.
284. Cupids at a Tomb.
285. Amymona carried off by a Triton.-
286. S. Paul kneeling before Christ.
287. Pluto.
288. Venus wounded by a Thorn. (B. 321.)
289. Satyr and Bacchante.
290. Dance of Three Fauns and Three Bacchantes.
291. Pope Clement VII. (B. 493 and 494.)
292. Pius II.
293. Paul II.
294. Sixtus IV.
295. Innocent VIII.
296. Alexander VI.
297. Pius III.
298. Adam and Eve. {Copi/ from Albrecht Diirer).
299. The Last Supper. {Do.),
300. Calvary. (B. 59.) (Do.)
301. The Virgin with the Monkey. (Do.)
302. The Virgin by the Door. (Do.)
303. Holy Family with playing Angels. (Do.)
304. Holy Family in a vaulted Chamber. (Do.)
305. The Prodigal Son. (Do.)
306. S. Jerome in bis Cell. (Do.)
307. Three Bishop-Saints. (Do.)
308. The Two Cooks. (Do.)
KAIMONDO, was a. Neapolitan painter, who
flourislied about the year 1477. There is a picture
by him in the church of S. Francesco di Chieri, in
Piedmont.
RAINALDI, DOMENICO, a painter, who flourished
at Rome about 1665. He executed some worlis
for the different churches in Rome, and seems to
have been patronized by the Popes of his time.
Nothing is Icnown of his history.
RAINIERI, Fbancesoo Mama, called Lo Schi-
VENOGLIA, was born at Mantua about the year
1680. He was a scholar of Giovanni Canti, and
painted similar subjects, representing landscapes
and battle-pieces. His pictures are little inferior
to those of his instructor ; if they are less vigour-
ously coloured, his figures are usually better
'drawn. He died in 1758.
RALPH, G. Keith, an English portrait and
subject painter in the latter half of the 18th
century. He was portrait painter to the Duke of
Clarence, and exhibited at the Academy from 1778
to 1811.
RAM, Jan de. See De Ram.
RAMA, Camillo, painter, a native of Brescia,
who flourished about the year 1622. He was a
pupil of the younger Palma, and painted several
altar-pieces and other considerable works for the
344
public edifices of his native city, which prove him
to have been an able follower of the style of
his instructor. In the refectory of the Carmelites,
and in the churches of S. Giosefifo and S. Fran-
cesco, there are good examples of his work.
RAMACCIOTTI, Giovanni Battista, amateur,
a priest of Siena, who lived about the middle
of the 17th century, and practised portrait and
historical painting. In the Franciscan church at
Siena there is a 'Nativity' by him, and at Florence
(Uffizi) a 'Nativity of the Virgin.' Bloemart en-
graved after him the portrait of a Nun, Colomba
da Tofaninis.
RAMAY, Jean, (or Delle Ramege,) an historical
painter, bom at Liege about 1530, was a pupil of
Lambert Lombard, and became a member of the
Corporation of Goldsmiths, of which he was dean
in 1585. Very late in life he is said to have
worked in the palace at Luxemburg, and to have
died during his journey back to his native city.
There is an ' Adoration of the Shepherds ' by him
in the church of Glains, near Liege. He was still
alive in 1602.
RAMAZZANI, Eecole, born at Roeoacontrada
in the Roman territory, was a pupil of Perugino
and of Raphael. He executed some works of art ,
for his native place. The dates of his birth and
death are unknown, but he is asserted to have
been still alive in 1588. Lanzi saw a picture by
one Ramazzani di Roccaeontrada in Matelica,
which was dated 1573.
RAMBALDI, Carlo Antonio, born at Bologna
in 1680, was a pupil of Domenico Viani. He
painted history with some success. There are
several of his pictures in the churches at Bologna,
which show considerable merit. The most worthy
of notice are the ' Death of St. Joseph,' in the
church of S. Gregorio ; the ' Visitation,' in S. Giu-
seppe ; and a ' St. Francis Xavier,' in S. Lucia.
Rambaldi died in 1717.
RAMBALDO, Laudadio, called Rambaldo pi
Feeeaea, an inferior Ferrarese painter, who flour-
ished towards the end of the 14th century. No
details of his life are known.
RAMBERG, Aethde-Gboeg, Feeihebe von,
painter, born at Vienna in 1819, was the son of
Field-Marshal Ramberg, but instead of following his
father's profession, he turned his attention to art.
In 1840 he entered the University of Prague, but
soon migrated to the Academy of Art, and then
to Dresden, where he studied under Julius Hiibner,
and painted a ' Combat betvi'sen King Henry and
the Hungarians.' The revolution of 1848 drove him
to Munich, where he painted humorous subjects.
He afterwards supplied illustrations for Schiller's
' Laura at the Piano,' ' Dido,' ' Drinking-Song,' and
' Expectation.' He also furnished illustrations for
Goethe's ' Hermann and Dorothea,' and Voss's
'Luise.' In 1860 he was appointed professor in
the Art School at "Weimar, and afterwards to the
same position at Munich. He died at Munich in
1876. Of his genre pictures the best are :
Meeting on the Lake.
The Embroidery Frame.
The "Water-party.
Frescoes in the Luther-hall rf the Wartburg.
Frescoes in the Palace at "Weimar (Legend of the Frog-
King).
Sunday at Dachau.
The Walk with the Hofmeister.
After the Masquerade.
RAMBERG, Johann Hfin"tch, an historical
and portrait painter and engr \cir, born at Hanover
Bambert
PAINTERS AND ENGEAVERS.
Kamirez
in 1763. He came early to England, and became
a scholar of Sir Josbua Reynolds and of Barto-
lozzi, working also in the schools of the Royal
Academy. After travelling in Italy and the Nether-
lands, he became court painter to the King of
Hanover. As a caricaturist he is at his best in his
' Reineke Fuchs ' and ' Till Eulenspiegel.' He
worked too hastily for his fame', and returned to
Hanover in 1834, where he died July 6, 1840.
Among his works we may further name :
Alexander crossing the Cranicus.
The Title-page for the edition de luxe of Wieland.
Curtain for the Theatre at Hamburg.
Illustrations for the ' Taschenbiichern zum geselh'gen
Vergniigen.'
EAMBERT, Louis db, painter, born in Paris in
1614, son of Louis Rambert, who was keeper of the
statues to Louis XIII. He studied under Vouet and
Le Brun. The king was his godfather. He painted
a portrait of Cardinal Mazarin, but finally abandoned
painting for sculpture. He died in Paris in 1670.
RAMBOUX, JoHANN Anton, painter, born at
Treves in 1790, went in 1804 to Plorenville to the
school of the Benedictine monk, Abraham, who
was then engaged on plates after Rubens, and in
1807 to David, under whom he became a good
draughtsman. In 1812 he returned to his home,
and there occupied himself with painting por-
traits. In 1815 he went to Munich, where he
applied himself to study the art of the Middle
Ages, and produced several portraits in the style
of A. Durer and Holbein. In 1816 he visited
Rome, wliere he became afiEected by Overbeck,
Veit, and Cornelius. He then took to studying
early Christian art and to copying old wall paint-
ings, votive pictures, and miniatures. In 1827 he
was back at Treves, but in 1829 was again in
Italy, returning to Treves in 1840, where he com-
pleted a collection of water-colour copies. The
King of Prussia bought from him two hundred
and forty-eight of these for the Academy of Diissel-
dorf. In 1843 he was appointed keeper of the
Wallraf Museum at Cologne, where he made a
reputation by his restoration of the old pictures,
and by supplying designs for the cathedral tapestry.
He possessed a collection of Italian pictures of the
15th and 16th centuries, from which he executed a
number of drawings in pen and ink. These were
reproduced in lithography, and published jointly
with lithographs from a series of drawings made
during a visit to Jerusalem in 1854. The whole
collection runs to a total of 125 plates. He died
at Cologne in 1866.
RAMELLI, Padeb Felice, born at Asti, in the
Piedmontese, in 1666. He was well known as a
painter of historical subjects and portraits in mini-
ature', and resided the greater part of his life in Rome,
where he became an ecclesiastic, ajid was made
a canon of S. Giovanni Laterano. The King of
Sardinia invited him to his court, where he was
for some time employed in painting the portraits
of the most celebrated painters, many of which he
copied from the originals, painted by themselves,
in the Florentine Gallery. Ramelli died in 1740.
RAMENGHI, Baetolommeo, called Bagna-
CAVALLO, from a village near Bologna, where he
was born in 1484, was a pupil of Pranoia, and
painted in Bologna in the style of his master. He
appears to have gone early to Rome, where he
studied the works of Raphael, and still more those
of Dosso Dossi. Bagnacavallo's style is a combin-
ation of that of the three masters we have named,
the simplicity learnt from Prancia preserving him
from the affectation that spoils the work of too
many of the painters influenced by Raphael. The
' Virgin in Glory ' in the Dresden Gallery, and the
large altar-piece with several saints in the Berlin
Museum, are grand works ; in them the pupil of
Prancia is to be readily recognized. After execut-
ing a certain amount of work in Rome, Raraenghi
returned to Bologna, where he died in 1642. Moi-elli
denies the influence of Raphael on Ramenghi, and
sees in him nothing but a pupil of Prancia and an
able imitator of Dosso Dossi. Works :
Berlin. Museum. SS. Petronias, Agnes, and
Louis IX. of France.
Bologna. Pinacoteca. Madonna with SS. Joseph,
Paul, Benedict, and M.
J, S. Vitale. The Visitation and other
Frescoes.
„ S. Michele in \ Copy of Raphael's ' Trans-
posed. J figuration.'
„ 8. Salvador, The Miracle of the Loaves
and Fishes.
„ „ St. Augustine's Flight from
the Manichseans.
„ .' <S Petronio, Christ Crucified.
„ is. M. del Par- \ A Crucifixion and a Depo-
racano. J sition. (Also frescoes in
the Pal. del Podesth, in S.
StefanOj and the Madonna
degli Scalzi.)
Dresden. Gallery. The Madonna enthroned with
SS. Geminianus, Peter,
Paul,and Anthony of Padua.
Milan. Brera. Mystic Marriage of St.
Catharine.
Paris. Louvre. The Circumcision.
RAMIREZ, Andeea, a miniature painter of
Seville, who in 1655 and 1558 illuminated the
choir books of the cathedral.
RAMIREZ, Benevides Juan, learned drawing
from his brother Josef, a sculptor. In 1753, exhi-
biting at the Academy a picture of the ' Election of
King Pelayo,' he was elected a supernumerary
Academician of S. Ferdinand. After studying
under Giaquinto he neglected painting for music,
and died at Saragossa in 1782.
RAMIREZ, Ceistobal, a native of Valencia, a
skilful illuminator, was in the service of Philip II.
in 1566, and did most of his work in his native
city. Returning to the Esoorial he died there in
1577, leaving his daughter and two sons under the
king's protection. Among the books illuminated
by this artist were the ' Oficio di difuntos,' the
' Intonario,' and the ' Brevario Nuevo en Cantoria,'
for the Escorial.
RAMIREZ, Felipe, probably a relation of Gero-
nirao, flourished at the same period. He painted
hunting-pictures, dead game, birds, and various
other subjects. He was a correct draughtsman and
understood the figure, as may be seen in his picture
of the ' Martyrdom of St. Stephen ' at Seville. His
pictjires of still-life are distinguished by their truth
and freshness, and his work generally was held in
much esteem in his lifetime.
RAMIREZ, Gebonimo, a painter of Seville, and
a disciple of Ro^las, flourished about the middle of
the 17th century. In the church of the hospital
de la Sangre, near Seville, there was a beautiful
picture signed with his name, representing the
pope surrounded by cardinals and other personages.
RAMIREZ, Josef, a Spanish painter, born at
Valencia in the year 1624. He was a sohoLir
of Geroniiiio de Espinosa, and painted historj- in
the stylo of his master. Palomino mentions, as his
345
Bamirez
A BIOGRAPHICAL DICTIONARY OF
Bauda
most esteemed performances, liis workB in the con-
vent of San Felipe Neri at Valencia, particularly
his picture of Nuestra Seiiora de la Luz. He died
at Valencia in 1692. He was a learned ecclesiastic,
and wrote the Life of St. Philip Neri.
RAMIREZ, Juan, a Spanish portrait painter,
who lived about the middle of the 16th century.
A great number of his portraits exist at Seville and
in its neighbourhood. Of his other works there are
no vestiges, though it is supposed that, being em-
ployed in the chapel of St. Christopher andother
places of note, he must have been an artist of
considerable talent.
RAMIREZ, Pedeo, painter, another of the numer-
ous artist-family of this name who flourished in
Spain in the 17th century. He practised at Seville,
and was one of the first members of the Academy
established in that city.
RAMSAY, Allan, portrait painter, the son of
Allan Ramsay, the author of the pastoral drama of
' The Gentle Shepherd,' was born at Edinburgh in
1713. He was a scion of the house of Dalhousie,
his great-grandfather being the Laird of Cockpen,
a brother to the chief. After acquiring the ele-
ments of design in London, under Hans Huyssing,
he returned to Edinburgh and worked for two
years from such remains of ancient art as he could
there encounter. He went to Italy in 1736, where
he was first a scholar of Solimena, and afterwards
of Imperiali. He did not, however, long prosecute
his studies in historical painting, but devoted
himself entirely to portraits. On his return from
Italy he established himself for some time at
Edinburgh, where he painted the portrait of Archi-
bald, Duke of Argyll. He afterwards, about 1762,
settled in London, where he met with very flat-
tering success. He was introduced by Lord Bute,
whose portrait he painted, to the Prince of Wales,
afterwards George HI., whose Painter in Ordinary
he became on the death of Shackleton in 1767.
From that year onward Ramsay conducted a sort of
picture factory, from which he turned out Georges
and Carolines by the score. His chief assistants
were David Martin, Mrs. Black, Eikhart, Vandyck,
Roth, and Vesperier ; to whom was added in later
years the well-known Philip Reinagle. Ramsay
was a good linguist and an accomplished writer.
Many of his essays were collected into a volume
under the name of ' Investigator. ' He corresponded
with Voltaire, Rousseau, and Hume. For the last-
named he painted a portrait of Rousseau. Of
Ramsay Dr. Johnson said, " You will not find a man
in whose conversation there is more instruction,
more information, or more elegance than in Ram-
say's." Without reaching the highest rank in his
profession, he painted portraits with very consider-
able ability.- He paid four visits to Italy during
his lifetime, and it was on returning from the last
that he died at Dover in 1784. Works :
Edinburgh. Nat. Gallery . David Hume.
„ „ Mrs. AUan Eamsay (a master-
piece).
„ Nat. Portrait Gall. Himself.
Hon. Alex. Murray.
Adam Austin, M.D.
AndrewFletcher,Lord Milton.
Norrie, a Scotch decorative
artist.
Jolin, second Duke of Argyll
The Earl of Chesterfield.
„ „ Queen Charlotte.
„ „ George III.
„ „ Lord Mansfield.
., „ Dr. Mead.
346
„ IL. Cnll. of Physicians.
„ Lord Young,
„ J2. Scott, Academy.
Glasgow.
Ijondon.
Gallery,
Nat, Fort. Qal,
Patrick Grant, Lord Elchies.
Dr. John Eutherford, grandfather of Sir AV. Scott.
Caroline, Marchioness of Lothian. [Jjord Lothian.)
John, second Earl of Stair. (Lord Stair.)
John, third Earl of Hyndford. {Sir W. H. Gibson
Carmichael.)
James Ferguson, F.R.S.
Sir Alex. Dick, of Prestoufield, Bart. {Sir B, K, A,
Dick Conyngham, Bt.)
Patrick Boyle, Lord Shewalton. (Lord Inglis.)
Clementma Maria Sophia Walkinshaw, Countess of
Albertstroff (mistress of the Young Pretender and
mother of the Duchess of Albany).
RAMSAY, James, an English portrait painter,
born in 1784. He had a good practice in London,
and exhibited at the Academy from 1803. He
retired to Newcastle-on-Tyne in 1847, and 'died
there in 1854. A good portrait of Grattan by him
has been engraved. Amongst his other portraits
are:
London. Nat. Portrait Gal, Thomas Bewick.
„ Soyal Coll, ofPhys, Dr. Elliotson.
Newcastle-on-Tyne. Town Mall, Earl Grey.
RANG, — , the elder, painter, worked at Mont-
pellier towards the end of the 17th century with
much success, and was one of Rigaud's early
masters. He was also the first teacher of his more
famous son, Jean Rano. He died at a compara-
tively early age. In the church of St. Pierre,
Montpellier, there is a ' Christ giving the Keys to
Saint Peter ' by him.
RANC, Jean, portrait painter, bom at Mont-
pellier in 1674, studied under his father, and under
Rigaud, whose style he followed with much success,
and whose niece he married. M. D'ArgenviUe re-
lates an absurd story respecting Ranc. He says
that having painted the portrait of a gentleman, in
which he had exerted all his art, the friends of the
sitter persisted in declaring that it was in no
way like him. Ranc promised to alter it, and
having prevailed on his sitter to co-operate, he
prepared a similar cloth, and having cut a hole to
admit the head, he requested his model to place
himself behind the canvas. The critics were sent
for to examine the amended portrait, which they
persevered in declaring was not yet like him, when
the head answered, " You must be mistaken, gen-
tlemen, 'tis I myself." De la Motte has introduced
this adventure into his fables. In 1724 Ranc was
invited to the court of Spain and appointed principal
painter to the king. He painted the Royal Family,
and also the King and Queen of Portugal, and died
at Madrid in 1735. Works :
Madrid.
Gallery,
Portrait of Philip T. (on
horseback).
Portrait of Philip T. (half
length).
Portrait of the Queen, Isa-
bel, second wife of Philip
Y. (half length).
Portrait of Phihp T. (to the
„ „ Portrait of Queen Isabel (to
the knees),
„ „ Portrait of Queen Luisa, wife
of Luis I. of Spain (half
length),
n „ Portrait of the Prince of
Asturias.
,! „ Portrait of the Prince Carlos
(afterwards Charles III.).
I, „ Portrait of a Maid of Honour.
And several others.
RANDA, Antonio, a native of Bologna, was first
a scholar of Guido, but afterwards studied under
Kandall
PAINTERS AND ENGRAVERS.
BaoQZ
Lucio Masari. He became of sufficient celebrity
to be taken under the protection of the Duke of
Modena, who appointed liim his painter in the
year 1614. His works are chiefly to be seen in
the churches at Bologna and Eerrara. In the
latter city, in the church of S. Stefano, is a picture
by him representing S. Filippo Neri, and the great
altar-piece of the church of S. Liberale, represent-
ing the Virgin Mary, with the infant Saviour and
St. Francis, is by this master. He died in 1650.
RANDALL, James, an English painter and
draughtsman, who practised in London about the
beginning of the 19th century. He exhibited
architectural landscapes at the Academy from
1798 to 1814, and in 1806 published ' A collection
of Architectural Designs,' in aquatint.
EANDAZZO, Filippo, painter, worked in Sicily
in the 18th century, and executed some large wall-
paintings at Palermo.
RANDEL, Friedeich, painter and draughtsman,
born 1801. A pupil of Kriiger's. He devoted
himself chiefly to genre pictures, into which he
introduced animals, especially horses, which he
treated with much skill. He also executed por-
traits in oil and in coloured chalks. One of his best
works is an equestrian portrait of General Tumping.
RANDLE, Fbbdeeick W., born in London, 1847.
He went to America in 1860, and became known
in Philadelphia as a painter of still-life. He died
at Liverpool, 1880.
RANDOLPH, — , painter, worked in England
towards the close of the 16th century, for the Earl
of Sussex. Directions for payment to him of sums
owing are contained in the Earl's will (Walpole,
vol. i. p. 187).
RANDON, John, an engraver who resided at
Eorae about the year 1710, by whom we have
several plates after antique and modem statues,
for the collection published by Rossi ; and other
subjects after various masters. The date of his
death is unknown, but he was still living in 1765.
RANER, Daniel, painter. Nothing is known
of this artist but that there was once a picture of
an old man with a cat in the Sohleissheim Gallery,
signed B. H., and attributed to him.
RANFTL, JoHANN Mathias, a genre and animal
painter, born in Vienna in 1805, where he studied
at the Academy, and under 'Peter Kraft. His
works are pleasing, and light in composition and
colouring. His best pictures were his animals.
His chief works are :
A Scene in the Flood at Pesth. {Belvedere, Vienna. )
The Reapers' Siesta. (Liechtenstein Gallery.)
Children gathering 'Wood. (The same.)
The Family of Doge. (The same.)
The Hunter's Spoil.
The Labourer's Eetum.
Congratulation.
Knntz TOn Kosen in Prison.
He died at Vienna in 1854.
RANKLEY, Alfeed, a subject painter, bom in
1819, was a student in the schools of the Academy.
His name first appears as an exhibitor in the
Academy in 1841, from which time he exhibited
works mostly of a domestic nature. His pictures
were carefully finished and generally had a moral.
He died in Kensington at the end of 1872.
Amongst his best works we may name :
The Village Church.
A Scene from Macbeth. 1841.
The Guilty and the Innocent.
The Lonely Hearth. 1857.
The Day is Done. 1860.
The Doctor's Coming. 1864.
Follow my Leader. 1867.
Following the Trail. 1870.
The Hearth of his Home. 1870.
The Pharisee and the Publican.
The Benediction. 1871.
RANSON, Thomas Feazee, an English engraver,
was born at Sunderland in 1784. He was appren-
ticed to an engraver at Newcastle, and gained prizes
from the Society of Arts for his plates in 1814,
1821, and 1822. He was engaged in the bank-
note controversy of 1818, and by a strange acci-
dent was tried for having a forged note in his
possession. He was, however, acquitted. In 1821
he received the gold medal from the Society of
Arts for a line engraving, and again in 1822 for
his engraving after David Wilkie's ' Duncan Gray.'
Among other good plates by him we may name :
A Portrait of George IV. ; after a drawing hy Edmund
A Portrait of the Duke of Northumberland ; after T.
Phillips, R.A.
RANSONNETTE, Nicolas, a French engraver,
born in Paris in 1753. He engraved several my-
thological subjects, after Gabriel de St. Aubin,
and other masters. We have also the following
prints by him :
The new Palais-Eoyal at Paris.
A View of the new Palace of Justice.
The Rival Seducers ; from his own design.
The Lover Revenged ; from the same.
Cupid and Psyche ; after Raphael.
Italian Amusements ; after Watteau.
Diana of Poitiers ; after L. Penni,
Agnes Sorel ; after the same.
The Dream of Voltaire ; after St. Aubin.
Nostradamus showing Marie de Medicis the throne of
the Bourbons.
RANSPACH, Gael, painter, working at Berlin
in the first part of the 19th century. At the Berlin
Exhibition, 1838, he exhibited several hunting and
battle scenes, and was afterwards o, frequent ex-
hibitor of such subjects, and of other genre-pictures.
RANUGCIUS, an Italian painter, of whom it is
recorded that he was one of the signatories of the
Treaty of Peace made between Lucca and Pisa in
1228.
RAOUL, Jean, miniature painter. In 1477 he
executed a genealogy of the kings of France,
adorned with paintings in miniature, and remark-
able for the delicacy and finish of its workmanship.
RAOUX, Jean, a French painter, born at Mont-
pellier in 1677, was a scholar of Bon Boulogne,
and having obtained a prize at the Academy, was
sent to Italy with the king's pension. Although
his studies were directed to historical painting, and
he was on his return from Italy received into the
Academy on that basis, he afterwards worked prin-
cipally at fancy subjects and portraits, of which we
have Mile. Prdvost as a Bacchante, Mile. Quinant
as Amphitrite, and Mile. Carton as a Naiad. He
is said to have been in England, where he was
patronized by Sir Andrew Fontaine. His historical
works are his picture of ' Telemaclius in the Island
of Calypso,' which has been engraved by Beauvarlet,
and ' Venus reposing,' of which there is a print by
J. Daulle. He died in Paris in 1734. Among his
better works we may also name :
The Four Ages.
Scene in the Temple of Priapus.
The young Bather.
Young Women at the Spinet.
Telemachus. {Louwe.)
Girl reading a Letter. (Louvre ; La Caze .Collection.)
347
Itaplioii
A BIOGRAPHICAL DICTIONARY OF
Baufflt
RAPHON, (Raphun,) Johann, a German reli-
gious painter, a native of Eimbeok, who flourished
in the 16th and 16th centuries. There are two
pictures Itnown by him, both signed with his name,
and bearing the dates 1499 and 1508. The latter
picture is in the cathedral of Halberstadt ; it con-
sists of a centre and wings, or shutters. In the
• middle is represented the Crucifixion ; on the
interiors of the wings the Annunciation, the
Adoration of the Shepherds and Magi, and the
Presentation in the Temple ; on the exteriors,
figures of Saints. The composition of the central
picture is somewhat overcharged ; and the heads
are distinguished rather by energy and individu-
ality than by feeling. Another altar-piece, also
a ' Cruoiiixion,' with saints on the wings, said to
be by him, is in the library of the university at
Gottingen. M. Hausmann of Hanover possesses
two wings of a fourth altar-piece. A picture
executed in 1499 for an altar-piece in the Cister-
cian Monastery of Walkenried, was removed thence
to Prague in 1631.
EAPIANUS. See Gudenduk.
RASCALON, JiiBfiMB, painter, born 1786. A
pupil of Cic^ri and of Bouton. He practised in
Paris towards the middle of the 19th century,
painting landscape and genre-pictures, and was
also employed as scene-painter at the Vaudeville
Theatre.
RASPAY, Pierre, painter, born at Avignon in
1748, went to Paris and studied under Vernet, but
returned to his native place and was made director
of the School of Art. His works are to be found
in the Museum of Avignon, and include a ' View of
the Pope's Palace at Avignon,' ' View of the Bridge
of S. Benezet,' and a portrait of the Abbe Juenet,
first keeper of the Museum at Avignon. Easpay
died at Avignon in 1825.
RASPE, C. G., engraver, flourished at Leipzig
and Dresden in the 18th century. His chief plates
are :
Charles Bonnet ; after Jens Juel.
Charles, Count of Saxony ; after Schmidt.
H. P. Stiirz ; after Ganz.
RASSET, Jean. See Valentiit.
RASTELL, John, an English wood-engraver of
the 16th century, the brother-in-law of Sir Thomas
More. He is remembered by 'The Pastyme of
the People, or The Chronicles of Divers Realmes,'
and more especially of ' The Realme of England,'
which he published in 1529, with his own illus-
trations. These have been wrongly ascribed to
Holbein. The book was republished by Dibdin in
1811. Rastell died in 1536.
RATH, Henriette, painter, born at Geneva,
1772, a pupil of Isabey, painted portraits, and also
worked on enamel. She, with her sister, founded
the ' Mus^e Rath ' at Geneva, and was made an
honorary member of the Society des Arts in 1801.
She died in 1856.
RATHBONE, John, a native of Cheshire, was
born about the year 1750. He has been sometimes
called 'The Manchester Wilson.' Without the help
of an instructor he acquired a respectable talent
as a landscape painter, and his pictures were
frequently embellished with figures by Morland,
Ibbetson, and other contemporary artists. His
life, like those of the two friends just named, was
irregular, and most of his pictures pass under
other names. He exhibited at the Academy from
1785 till his death, which took place in 1807. The
following are fair examples of his art :,
348
Liverpool.
Salford.
Walker Gall. A Landscape.
-P^«^-^'*;^|tv70 Landscapes.
Museum.
EATTI, Carlo Giuseppe, the son of Giovanni
Eatti, bom at Genoa in 1735, studied at first under
his father, and then was taken under the patronage
of Rafael Mengs, with whom he lived as a friend.
He did not devote himself so much to painting as
to writing ; and among his works are, ' The Lives
of the Painters of Genoa,' 'A Life of Rafael
Mengs,' and 'Notices of Correggio.' He was
knighted by Pope Pius VI. He died in 1795.
EATTI, Giovanni Agostino, painter, born at
Savona in 1699, went early in life to Rome, where
he frequented the school of Benedetto Luti. He
occasionally painted historical subjects, of which
the most deserving of notice are his pictures of
the life of St. John the Baptist, in the church of San
Giovanni, at Savona, of which the ' Decollation ' is
perhaps the best. But his principal merit was in
painting scenes for the theatre, and caricatures, in
which he discovered great ingenuity and invention.
He died at Genoa in 1775. He engraved a few
plates.
RAUCH, Ernst, engraver, bom at Darmstadt
in 1797, studied under Portmann, and then after
working for some time in Switzerland, went in
1822 to Paris, where he worked under Hersent. In
time he returned to Darmstadt, and became court
engraver. He worked for a time with his brother
Karl {q. v.), and with him completed most of the
steel engravings in a collection of original views
of German court cities and of their cathedrals
(the latter after Ludwig Lange), and some of the
plates for Salzenberg's ' Altchristliche Baudenk-
male von Konstantinopel.' The chief works hs
did alone are :
A Portrait of Dr. Liebig.
A Peasant Pamily at Prayers ; after K. Schorn.
RAUCH, Ferdinand, painter, practising in
Vienna in the first half of the 19th century. He
was a, brother of the artists Johann Joseph and
Johann Nepomuk Ranch, and painted animals.
RAUCH, Johann Joseph, painter and etcher,
practised in Vienna, with his brothers Ferdinand
and Johann Nepomuk, in the first half of the
present century. He was educated at the Vienna
Academy, and afterwards travelled much in Ger-
many and Russia, He painted landscapes and
animals, both in oil and water-colours, and also
etched similar subjects.
RAUCH, Johann Nepomuc, a German landscape
and animal painter, bom in 1804 at Vienna. In
the Vienna Gallery there is by him 'A Bull
pursuing a Cow ' (1832). He died in 1847.
RAUCH, Karl, brother of Ernst Karl, born at
Darmstadt in 1804, a pupil of his brother's and
of Moller, went to London, and became a Fellow
of the Society of British Architects. The two
brothers worked together and engraved landscapes
in Germany from their own drawings ; the prin-
cipal cathedrals, after Ludwig Lange ; and a num-
ber of works after Salzenberg. Karl engraved alone
the principal door of the Cathedral of Freiburg.
RAUFFER, Karl, a miniature painter, born at
Eatisbon in 1727, was secretary to the Elector
Maximilian III. of Bavaria. He died at Munich,
in 1802.
RAUFFLT, — , a Swiss painter, who studied
in France towards the end of the 17th century,
and who in 1684 gained a prize from the Eoyal
Bauft
PAINTERS AND ENGEAYERS.
Bavenet
Academy of Painting with an ' Enoch first invoking
the name of the Lord.'
RAUPT, FEANgois Lodis, born at Lucerne in
1730, was first a pupil of his father, and then
studied in Paris and Rome. After a visit to Hol-
land and Grermany, he settled in Hamburg. His
chief work was the decoration of some ceiMngs in
the Palace of Hesse CasseL He died at the Hague
in 1798.
EAUSCHER, GEORd Feiedeich, landscape
painter, was first a pupil of his father, August
Friedrich, and in 1813 studied at Munich under G.
Dillis and W. Kobell. Was appointed Court
painter to the Duke of Coburg, and Professor at
the School of Art. He made many drawings
in sepia and water-colour, besides his landscapes
in oil.
RAUWAERT, Jakob, painter, a pupil of Martin
Heemskerk. He appears to have been a man of
property, and to have practised art for pleasure
rather than as a profession. He flourished at
Amsterdam about the middle of the 16th century.
He had a fine collection of pictures, and commis-
sioned Heemskerk to paint him one representing
the ' Four Ends of Man,' for which he paid a
large sum. When in 1572 Haarlem was besieged
by the Spaniards, Eauwaert protected his old
master, and received him into his house at Am-
sterdam.
RAVANALS, Juan Bautista, engraver, bom at
Valencia in 1678, studied under Evaristo Mufioz.
His principal engravings, which displayed more
skill in handling of the graver than in drawing,
were : an equestrian portrait of Philip V., and a
genealogical tree of the Royal family ; a portrait
of Father Gregorio Ridaura, a print of San Rod-
rigo, a second portrait of Philip V., some plates for
the first edition of a mathematical work by Tosca,
the frontispiece for a book called ' Gentro de la Fi
OrtodoxS,,' which represents the apparition of Our
Lady ' del Pilar ' to St. Francis and some of his
disciples, and illustrations for another book of
Devotion, in which St. Thomas Aquinas and other
saints figure.
RAVEAU, (Madame,) Bmilib, painter, born in
France 1785. A pupil of her father, Michael
Honors Bonnieu. She painted historical and
mythological subjects. Died after 1830.
EAVBLLI, PiETER Antonij, painter, born in
1788. Practised at Amsterdam, and was first a
pupil of B. Barbiers Pietersz, and afterwards of
C. H. Hodges. He finally devoted himself chiefly
to portrait-painting in miniature and in oils, but
also painted genre-pictures.
EAVEN, John S., an English landscape painter,
born in Suffolk in 1829. He was the son of
the Eev. Thomas Eaven, a clergyman of the
Church of England, who had considerable talent
as an amateur artist, as may be seen from six
water-colour drawings by him in the South Ken-
sington Museum. John Eaven was, however,
almost entirely self-taught. He exhibited at the
Academy as early as 1845, and his works also
appeared at the British Institution. He at first
fell under the influence of the Norwich school,
and of Constable, but his maturer works, which
show much poetic feeling, bear traces of pre-
Eaphaehtism. It was his custom to prepare elabo-
rate cartoons for his pictures. He was drowned
while bathing at Harlech in 1877. A collection
of his works was exhibited at the Burhngton Club
in 1878. Amongst his chief pictures were :
Salmsey Church (his first picture, painted when he was
sixteen years old).
The Forest of Fontainebleau. 1853.
A Voice of Joy and Gladness. 1860.
The Skirts of a Mountain Farm. 1862.
Midsummer Moonlight. 1866.
The Crops Green. 1867.
The Shadow of Suowden. 1867.
A Hampshire Homestead. 1872.
The Heavens declare the Glory of God. 1876.
Barff and Lord's Seat from the Slopes of Skiddaw.
1877.
EAVENAET, Hennequin de, painter, worked at
Bruges about the middle of the 15th century.
RAVENET, Simon Franqois, a French en-
graver, born in Paris in 1706, was a pupil of
Lebas. After practising the art with considerable
reputation in his native country, he came to Eng-
land, and settled in London about the year 1760.
He was employed for a time at the Battersea
Enamel Works, and gained a premium from the
Society of Arts in 1761. In 1766 he was a mem-
ber of the Incorporated Society of Artists. He
is said to have been imported by Hogarth, who
employed him upon the 'Marriage d la Mode.'
The fourth and fifth plates in that series are by
hira. He was also employed by Alderman Boy-
deU, for whom, perhaps, he did his best work.
He gave both a fine suggestion of colour and
great brilliancy to his engravings, and finished
them with precision. Eavenet died in London in
1774. Among his plates we may name :
POETEAITS,
George I.
George II. ; after Mereier.
Lord Camden ; after ReyTiolds,
Alexander Pope, Poet.
James Thomson, Poet.
David Hume, Historian.
Mr. Garrick and Miss Bellamy in ' Romeo and Juliet ' ;
after B. Wilson.
Himself ; after Zoffany (lettered Grave par Ivi meme
d'ajpres un, taMeau 2>eint par son ami Zoffany),
VARIOTJS SUBJECTS.
The Emblem of Human Life ; after Titian ; Crozat
Collection.
Venus and Adonis ; a ter P. Veronese ; the same.
The Adoration of the Shepherds ; after D. Feti ; tho
same.
Painting and Design ; after Guido.
The Virgin, with the Infant Jesus sleeping ; after the
same.
Charity ; after Carlo Cignani.
The Arcadian Shepherds ; after iV. Foussin.
Sophonisba taking Poison ; after L. Giordano.
The Death of Seneca ; after the same.
Tobit Anointing his Father's Byes ; after Ag. Caraccl.
The Lord of the Vineyard ; after Semtrandt.
The Prodigal Son ; after Sal. Rosa.
Phryne tempting Xenocrates ; after the same.
The Return of the Prodigal Son ; after Guercino.
Lucretia deploring her Fate ; after Cazali.
Gunhilda, Empress of Germany, acquitted of a charge
of adultery ; after the sam,e.
EAVENET, Simon, the son of Simon Franpois
Eavenet, was born in London about the year 1765
(according to others in 1749), and was instructed
by his father in the art of engraving. He after-
wards visited Paris, where he studied painting
for a short time under Francois Boucher. On
leaving that master he went to Italy, and settled
at Parma, where he undertook to engrave and
publish plates from all the works of Correggio in
that city. This arduous undertaking occupied
him from 1779 till 1785, in which time he
349
Bavenna
A BIOGRAPHICAL DICTIONAKY OP
Bawlins
engraved the following prints after the Parmese
master :
A set of twelve plates from the Cupola of the Cathedral.
A set of twelve plates from the Cupola of S. Giovanni.
The Madonna della Scodella,
The Madonna della Soala.
lia Santissima ISTunziata.
The Madonna Incoronata.
Christ bearing his Cross.
The Descent from the Cross.
The ' St. Jerome.'
The Martyrdom of St. Placidus.
For these labours he was made ' Cavaliere.' We
have also by him the two following prints :
Jupiter and Antiope ; after Euhens.
Theseus lifting the Stone ; after N. Paussin.
Ravenet is believed to have been still alive in
1813.
RAVENNA, Mabco da. See Dente, Marco.
RAVENZWAAY, Jan van, the elder, a. Dutch
landscape and animal painter, born at Hilversura
the 29th November, 1789. Ho studied under P.
G. van Os, and died the 2nd March, 1869. Among
his works are :
Amsterdam. Museum. A Cow-Stable.
Haarlem. Pavilion. Landscape with Animals.
„ „ Interior of a Stable.
RAVENZWAAY, Jan van, the younger, the
nephew of Jan Ravenzwaay the elder, and his pupil,
born at Hilversura, in Holland, 1810. He painted
landscape in the manner of his Uncle. Died 1849.
RAVESTEIN, Antonij van, a painter of still-
life, practising in Holland in the 17th century.
Received a member of the Corporation of Painters
in 1614 at the Hajjue, and was one of the founders
of the Pictura Society in 1656.
RAVESTEIN, Arthur van, painter, bom at
the Hague 1616, was the son and pupil of Antonij
van Ravestein, and practised portrait painting at
the Hague, where he was a member of the Guild
of Painters. He was dean in 1661, 1662, and
1680. He is stated by some writers to have been
the son of Jan van Ravestein. He is mentioned
in the accounts of William II. of Orange, as
having received 600 florins for a picture represent-
ing Diana and Calisto. An Arnold van Rave-
stein was inscribed on the books of the Guild at
Haarlem in 1639. By some he has been supposed
to be the same as Arthur. There are two portraits
by him in the Cassel Gallery, and one, of a young
man, at Copenhagen. Arthur van Ravestein died
at the Hague in 1676.
RAVESTEIN, Regneb, a landscape painter of
little note, who practised at Amsterdam in the
18th century.
RAVESTEJIN, Hendeik van, painter, studied
at the Hague about the middle of the 17th
century, and then travelled in Austria and Ger-
many to complete his education. He practised for
a time at Vienna, painting portraits of persons at
the Court, and then settled at Bommel, in Holland,
and devoted himself chiefly to the painting of
still-life. He died in 1672. He was the father
and teacher of Nicolaas van Ravesteijn.
RAVESTEIJN, Hubert van, painter, was born
at Dort in 1640. His pictures represent the in-
teriors of slaughter-houses, butchers'-shops, and
similar subjects. He sometimes painted peasants'
kitchens, and stables, which he treated with some
power of chiaroscuro.
RAVESTEIJN, Jan Anthonisz van, a celebrated
portrait painter, born at the Hague about the year
350
1672, was a pupil of Frans Hals, whose early style
he closely followed. He was scarcely surpassed
in the particular branch of art which he practised
by any of his countrymen, if we except Rem-
brandt, Hals, and Vander Heist. He was received
into the Guild of St. Luke at the Hague in 1598,
and practised there for the rest of his life. Inde-
pendently of the individual portraits by this painter,
which are found in the private collections of Holland,
there are two large pictures by him in the hall
of the Company of Archers at the Hague, which
establish his reputation as one of the ablest artists
of the Dutch school. In one of these he has
painted the portraits of the officers and principal
members of the society, life-size. The figures,
as well as the heads, are correctly dravm and finely
coloured. The canvas is dated 1616. The other
represents an assembly of the magistrates of the
Hague seated at a table ; the figures, twenty-six
in number, are admirably grouped. There is also
a picture of 'The Civic Guard issuing from the
Doelen,' and the ' Banquet of the Town Council,'
both of which are in the Town Hall. Examples of
this artist are to be found in most of the European
galleries. He died at the Hague June 21, 1657.
RavesteJjn's manner has much of the hardness of
the 16th century, reminding us oftener of Mirevelt
than of Rembrandt or of Hals at his maturity; but
his pictures are characterized by a peculiar nobility
in the carriage of his sitters and by a fine largeness
of conception. He signed his pictures with a mono-
gram composed of J A VJS, or with his name in f uU.
Among his works we may name :
Amsterdam. Museum: Portraits of Jan Pietersz and
Margriet van Snoek.
„ „ Portrait of Commander Joris
Cats.
J, „ Portrait of Prince Ernst Casi-
mir of Nassau.
„ „ Portrait of Justinus of Nassau.
Berlin. Gallery. Portrait of a Savant vrith his
little Daughter.
Brunswick. Gallery. Portrait of a Professor.
„ „ Family Portrait.
Dresden. Gallery. An old Man in Armour.
Hague. Museum. A Series of Twenty-four Por-
traits of Colonels in the serv-
ice of the United Provinces.
Lille. Museum. Two Fine Portraits.
Munich. Finakothek. Three Portraits.
Nancy. Museum. Portrait of a Woman.
RAVESTEIJN, Nicolaas van, painter, born at
Bommel in 1661, was the son of Hendrik van
Ravesteijn. His father instructed him in the ele-
ments of design, but died while he was young.
After his father's death he studied first under
Willem Doudijns at the Hague, and then under
Jan de Baan. After leaving the latter, he settled
in his native city, arid soon acquired an extensive
practice. He died at Bommel in 1760.
RAVIGNANO. See Dente.
RAWLE, Samuel, an EnglLsh engraver and
draughtsman, who practised in London about the
beginning of the 19th century. There is an en-
graving from a drawing by him of the Middle
Temple Hall, in the ' Gentleman's Magazine ' for
1798. Landscapes by him appeared at the Academy
in 1801 and 1806. Specimens of his engraving
are to be found in Murphy's ' Arabian Antiquities
of Spain' (1806), and two of his water-cblout
drawings are in the Kensington Museum.
RAWLINS, — , an English engraver of portraits
and frontispieces for books who flourished about
the year 1760.
Rawlinson
PAINTERS AND ENGRAVERS.
Beattu
RAWLINSON, James, an English portrait
painter, born in 1769. He was a native of Derby-
shire, and studied under Romney. He only once,
in 1799, exhibited at the Academy, a picture of
an old woman knitting. His portrait of Erasmus
Darwin has been well engraved by Heath. Raw-
linson died in 1848.
RAXIS, Pedro, painter, was living and working
in Grenada with much credit about the end of the
16th century. It is supposed from his style that
he' studied in Italy. He was a good draughtsman,
and displayed great delicacy in grotteschi, on
which he was much employed. According to a
tradition noted by Berraudez, Raxis had two
brothers who were also painters, but were inferior
to him in ability. Works :
Grenada. S. Geronimo. Saints above the High Altar.
„ Saeromonte. Immaculate Conception.
„ Carmen Descalzo. Saints {in the Cloister).
„ Affustinos Calzados. St. Augustine.
Lucena. S. Juan de Dios. The Life of S. Juan de Dlos
(a series of pictures in the
Cloister).
RAYMOND, Pierre, (Rbymond, Rexmont,) one
of the most famous of the Limoges enamellers of
the 16th century. His activity extended from
1534 to 1582. In 1567' he was mayor of Limoges.
He and his contemporaries, Jean and Martial
Raymond, were the chief rivals of the Penicauds.
Good specimens of his work are to be found in the
Basilewsky collection, now at St. Petersburg, in
the Louvre, at Berlin, and in the most famous
private collections, such as those of the Rothschild
family and Mr. Spitzer.
RAZALI, Sebastiano, a Bolognese painter and
scholar of the Carracci. There is a ' St. Benedict
among Thorns ' by him in San Michele in Bosco,
Bologna.
READ, Catherine, a painter of portraits, both
in oil and in crayons, practised in London in
the early part of George III. 's reign. About the
year 1770 she went to the Bast Indies, where she
resided a few years. On her return to England, she
continued to exercise her talent with respectable
success until her death, which happened about the
year 1786. There are several mezzotints after her
portraits. She painted a portrait of Queen Charlotte,
and a group of Princes George and Erederick.
READ, David Charles, an English landscape
draughtsman and painter, born in 1790. He taught
drawing at Salisbury, and published a series of
etchings in 1832. He died at Kensington in 1851.
READ, Richard, an English engraver in mez-
zotint and in stipple, who flourished about the year
1780. He was born about 1745, became a pupil
of Caldwall, and was premiated by the Society of
Arts in 1771. Among other prints by him we have
the following :
Moses saved from the Nile ; after Le Sumr.
A Portrait of a Dutch Lady ; after Sembranit.
Mary, Queen of Scots, resigning her crown in favour of
her Son ; after G. MamUton.
READ, Samuel, was born at Needham Market,
near Ipswich, about 1816. As a boy he was placed
in the ofSce of a lawyer, but showed so decided an
inclination for art, that he was transferred to the
office of an architect. In 1841 he came to London,
and drew on the wood with Mr. Whymper, which
brought him into connection with the ' Illustrated
London News,' for which he worked for more than
forty years. He was the first special artist ever
sent abroad by a newspaper, going in 1853 to Con-
stantinople, just before the outbreak of the Crimean
War. In 1857 he was elected an associate, and in
1880 a full member of the Old Water-Oolour Society.
He made many efEective drawings of interiors and
exteriors of churches and cathedrals. He died at
Sidmouth on May 6, 1883. Works :
The Moated Grange. (S. Kensington Museum.)
The Corridor, Brewer's Hall, Antwerp. (The same.)
READ, Thomas Buchanan, painter, born in
Chester county, Pennsylvania, in 1822, w^ent in
1839 to Cincinnati, and was first an architect and
then a painter. In 1841 he worked in New York,
and then in Boston and Philadelphia, and went in
1850 to England and Italy, making a prolonged
stay in Florence, where he painted fancy pictures,
such as 'The Lost Pleiad,' 'The Water Sprite,'
'The Star of Bethlehem.' He also painted por-
traits, among which were those of George Pea-
body and of Longfellow's children. In 1848 he
published a volume of ' Songs and Ballads,' and in
1850 ' Idylls,' ' Silvia the last Shepherdess,' and
' Sheridan's Ride,' illustrated by himself. He died
at New York in 1872.
READER, William, portrait painter, born at
Maidstone, was the son of a clergyman, and prac-
tised in the 17th century. There is a portrait by
him of Dr. Blow the musician ; it is engraved.
Reader died in London, a pensioner of the Charter
House.
READING, Burnet, an English engraver, born
at Colchester about the middle of the 18th century.
He held the somewhat incongruous positions of
riding and drawing-master to Lord Pomfret. He
worked in the dot manner, and appears to have
practised in London about 1770-90. Amongst his
plates are :
Lavinia and her mother ; after W. S. Bigg.
Charlotte at the tomb of Werther.
Portrait of himself ; after a drawing hy himself.
READING, Sarah, probably a relative of the
last named, was at work at the same time and in
the same fashion. An oval of ' Olivia and Sophia '
by her has been preserved.
READY, William James Durant, an English
marine painter, born in London in 1823. The
son of a Custom House clerk, he was entirely
self-taught, and worked directly from nature. Of
a retiring and timid disposition, he only exhibited
once at the Royal Academy ; and though his works
showed marked ability, he never obtained an ex-
tended reputation. He paid a visit of some years'
duration to America, and on his return resumed his
former retired mode of life. Nearly all his pictures
were sold to one dealer. They were both in oil
and water-colour, and in either case were nearly
always finished on the spot. David Roberts was
his intimate friend. He died at Brighton in 1873.
REALFONSO, TomMaso, an Italian painter of
the 18th century, one of the pupils of A. Belvedere.
He occasionally painted landscapes, but his principal
productions were flower and fruit pieces, and studies
of still-life.
REATTU, Jacques, a French historical painter,
born at Aries about 1760. He studied under Reg-
nault, and obtained the grand prix in 1791, which
enabled him to complete his studies at Rome. The
theatre at Marseilles was decorated by him, and
at Beauvais is his ' History of St. Paul.' He attained
some reputation in his own country, and was
elected a corresponding member of the Institute.
He died in 1832.
351
Bebacca
A BIOGRAPHICAL DICTIONARY OP
Bedenti
EEBACCAj BlAGlo, an ornamentist and his-
torical painter of Italian descent, who lived in
England. He was born in 1735, and was admitted
into the schools of the Academy in 1769, being
elected an Associate in 1771. He was chiefly
employed as a, decorative artist, working as such
on the rooms of the Academy at Somerset House,
at Windsor Castle (by which he was brought to
the notice of the Royal Family), at Audley End, and
at Harewood House. He died in London in 1808.
EEBELL, Joseph, a German landscape and
marine painter, born at Vienna, January 11, 1787.
He was a pupil of Th. Wutky. In 1809 he travelled
through Switzerland to Milan, where he stayed two
years at the Court of Eugene Beauharnais. He
afterwards studied at Rome and Naples, being
favoured in the latter city by Murat. His Italian
sojourn afforded him many subjects. The Emperor
Francis took great interest in his work, and in 1824
he was appointed director of the Belvedere Gallery.
He died at Dresden, December 18, 1828. Among
his works are :
Berlin. Nat. Gal. Tempest on the Coast near
CumsB.
Innspruct. Museum, Two Italian Landscapes,
Munich. Finakothek. The Mole at Portici.
„ „ Tempest at Sea.
„ „ The Canal.
„ „ The Environs of Capri.
Vienna. Beliiedere. Italian Landscape. 1819.
„ „ Vietri and the Gulf of Salerno.
1819.
„ „ The Grotto of Focoia. 1819.
„ „ Portici. 1819.
REBBLLO, Jose d'Avellab, an historical
painter of little note, who flourished in Spain about
the middle of thS 17th century.
REBOUL, TniRESE. See Vien.
RECCHl, Giovanni Battista, painter, a pupil
of Mazzuchelli, and brother of Giov. Paolo Recchi.
He became well-known at Turin, where he was
working about 1660. He painted historical sub-
jects, and was assisted in his studio by his nephew
Giovanni Antonio.
RECCHI, Giovanni Paolo, brother of Giovanni
Battista Recchi, an Italian painter of the 17th
century, who, in conjunction with his nephew
Giovanni Andrea, worked in Piedmont about 1660.
He was a pupil of Mazzuchelli.
RECCO, Giuseppe, born at Naples in 1634, was
a scholar of Aniello Falcone and of Porpora. He
particularly excelled in painting hunts, dead
game, fish, and similar subjects. His pictures
are found in the best collections at Naples. He
was invited to the Court of Madrid, where he
was knighted at the time when Luca Giordano
flourished there. His pictures were held in the
highest estimation by the Spanish king. There
are three pictures by him in the Madrid Gallery,'
representing fish and game. He died at Madrid
in 1695.
RBCCO, PiETEE, portrait painter, born at Amster-
dam, 1766. He was a pupil of A. de Lelie, and
settled at Basle, where he spent the greater part
of his life. Hence he is often called a Swiss by
biographers.
RECHAMBAULT, Pieeee, a painter upon glass
and enamel, who flourished at Limoges about
1655. He was associated with the Penicauds in
some of their works, especially those for'the con-
fraternity of the Blessed Sacrament, at Limoges.
RECHBEEGER, Franz, an eminent designer,
etcher, and landscape painter, was bom at Vienna
in 1771, and was a soliolar of F. Brandt at the
same time as Martin von Molitor, with whom he
afterwards continued to practise. His landscapes
are natural, his etchings spirited. In general
his plates represent wild, romantic scenery, richly
ornamented with trees, or frowning with rocks, in
the style of Jacob Ruisdael, or Albert van Ever-
dingen. He also etched a number of landscapes
after Dietrich. The care of the fine collection of
prints formerly belonging to Count Pries was con-
fided to him, and he was also keeper of the prints
and drawings of the Archduke Charles at Vienna.
His etchings are marked P. R., which has occasioned
them to be sometimes erroneously attributed to
Frederic Rehberg, a contemporary artist, whose
works are historical, and belong rather to the
Roman school. He died in 1842. By him ;
Landscape with the Temple of Vesta. (Vienna.)
RECHLIN, Karl, a painter of battle-pieces and
scenes from military life, born 1804, practised at
Berlin. His principal works are :
Duke Charles of Mecklenburg at Goldberg, 1813.
Painted for the King of Prussia. 1839.
Battle of Leipzic, 1813. Painted for the Emperor of
Russia.
Blucher at La Belle-Alliance.
Vandamme taken Prisoner.
RECHTERS, T., a native of Amsterdam, where
he lived from 1700 to 1768. Among his pictures
is a portrait of Jan Wagenaar. He has also left
a history of his native city.
RECK, David van, a portrait painter of the 17th
century, born in Flanders, and a pupil of Van
Dyck. Queen Christina invited him to the Swedish
Court, and he settled in Stockholm, where he ob-
tained a large practice among the aristocracy.
He painted portraits of the Queen, and of many
Swedish generals and persons of distinction.
RECLAM, Friedeioh, born at Magdeburg in
1734, after learning the rudiments of design in
his native country, went to Paris, where he became
a pupil of J. B. Pierre. In 1755 he visited Rome,
and after a residence of seven years in that capital,
he established himself at Berlin. He painted land-
scapes and portraits with considerable success, and
died in 1774. We have the following etchings by
him :
A set of eight Views in Italy. 1755.
A Landscape, Morning ; after MoucJieron.
The Companion, Evening ; after Dubois,
Two Views in the Environs of Paris ; from his own
A View near Eome, with a Waterfall ; the same.
RECOUVRANCE, Antoine db, a French painter,
born at Avignon. The works of this artist are
little known, though he was appointed painter to
the king in 1588, and held his post till 1641. In
the collection of Duplessis-Mornay, who died in
1611, there were portraits by him. There are
still in existence by him some interiors of churches,
with groups of persons assembled for worship,
which are apparently portraits.
RBDBL, Josef, a German historical painter,
born in 1774. He worked in the style of Fiiger,
and was considered a good colourist. He was
appointed a professor in the Academy at Vienna,
where he died in 1836.
EEDENTI, Feancesoo, painter, born at Cor-
reggio in 1820, was employed in drawing cari-
catures for the Fisohietto. He died at Turin in
1876.
Reder
PAINTERS AND ENGRAVEES.
Seekers
REDER, Christian, called Leandee, born in
Saxony in 1656, visited Rome in 1686. In that
year Buda was taken and Reder gained consider-
able reputation for his battle-pieces, representing
the fights that took place between the Ottomans
and the Christians. He afterwards visited Venice,
Hamburg, England, and Holland, and died in
1729.
REDGRAVE, Samuel, was bom in London,
3rd October, 1802. His father, who at the time
of his son's birth was in the office of Mr. Joseph
Bramah, the inventor, placed him in an office
connected with the Home Department. There he
showed in time that he was possessed of talents of
an unusual kind, and was intrusted with various
responsible tasks under the Home Secretary. But
much of his lei*re was given to matters concern-
ing art and artists. He became a probationer at
the Royal Academy, in the architectural class,
having in his leisure moments acquired consider-
able proficiency as a draughtsman. In 1842 he
became secretary to the Etching Club, in suc-
cession to his brother Richard. He was intrusted
with the collection of a historical series of English
pictures, in oil and water-colour, for the 1862
Exhibition, and was employed in much the same
capacity for the Paris Exhibition of 1867. Two
years earlier he had submitted a proposal for a
Loan Exhibition of Miniatures to the Committee of
Council, which had been acted upon, while in 1866
his aid was invoked by Lord Derby for the organ-
ization of the Exhibition of Portraits, which was
open at Kensington for three years. In 1869 he
helped the Royal Academy in starting the series
of Winter Exhibitions at Burlington House. But
of all his claims to remembrance the chief, per-
haps, are his ' Dictionary of Artists of the British
School,' and his share in ' A Century of Painters,'
pablished jointly by himself and his brother
Richard. Samuel Redgrave married in 1839, but
lost his wife in 1845. He died himself on the 20th
March, 1876.
REDI, Giovanna, a pupil of Gubbiani together
gether with Toramaso Redi, to whom she was, in
all probability, related.
REDI, ToMMASo, born at Florence in 1665, after
receiving some instruction in his native city went
to Rome, where he frequented the Academy estab-
lished in that city by the Grand Duke Cosmo III.,
which was at that time under the direction of
Carlo Maratti and Ciro Perri. His studies at Rome
were prosecuted with considerable success, and on
his return to Florence he was employed by the
Grand Duke in several works for the Palazzo Pitti.
He also painted some pictures for the churches, and
other public edifices, and is spoken of ,as an emi-
nent portrait painter. When the Czar Peter visited
Florence, he was particularly struck with the works
of Redi, and being desirous of establishing an
academy for the promotion of the fine arts at
Moscow, made very liberal proposals to that master
to prevail on him to undertake the superintendence
of it, but his engagements at Florence prevented
his accepting the ofEer. Redi died at Florence in
1726.
REDIG, L., a Belgian painter of genre and
landscape, died 1861. His best known work is a
' Village FIte.'
REDMOND, Thomas, an English miniature
painter, born at Brecon about 1745. As a boy
he was apprenticed to a house-painter at Bristol.
Coming to London, he studied in the St. Martin's
VOL. II. A a
Lane Academy, and was in 1763 a member of the
Free Society of Artists. Migrating to Bath, he
obtained a good practice, and exhibited at the
Royal Academy from 1775 to 1779. He died at
Bath in 1785.
REDONDILLO, Isidoro de, a Spanish painter
of the 17th century, and pupil of Angelo Nardi.
He practised at Madrid, and was appointed painter
to Charles II. in 1685. He painted portraits and
historical pictures, which are often confounded,
says Bermudez, with those of other painters.
REDODTlS, Antoine Ferdinand, the son of
Charles Joseph Redouts, born at St. Hubert, 1756.
The pupil of his father. He was a decorative artist
of much repute in his day, and decorated the
Palais de I'Blysde, the Palais Bourbon, the Ch&teau
de Compiegne, and other large houses. In 1776 he
settled in Paris, where he died in 1809.
REDOUTB, Charles Joseph, painter, the son
of Jean Jacques Redoute, and father of the three
artists, Pierre Joseph, Henri Joseph, and Antoine
Ferdinand Redoute, was born at Jamagne, near
Philippeville, in 1715. He was his father's pupil
until 1735, when he came to Paris and studied
at the Academy. Later he settled at Sainifilubert,
where he worked much on commission for the
Abbeyj and for the great houses of the neighbour-
hood, and where he died in 1776.
REDOUTE, Henri Joseph, a painter of flowers,
fruit, and insects, born at St. Hubert, 1766. He
was the son of Charles Joseph Redoute, and studied
under his brother Pierre Joseph at Paris. He was
appointed draughtsman to the ' Jardin des Plantes,'
and was chosen as one of the members of the Art
and Science Conimission which Bonaparte sent
into Egypt.
REDOUTfi, Jean Jacques, an obscure artist,
born at Dinant in 1687, and remarkable only as
having been the father of Charles Joseph, and
grandfather of Pierre Joseph Redout^. He died in
1762.
REDOUTS, Pierre Joseph, flower painter, bom
at St. Hubert in Belgium in 1759, learned the prin-
ciples of art from his father, and then went to his
brother, Antoine Ferdinand, in Paris. In 1792 he
was appointed draughtsman to the Academy of
Sciences and to the Institute, and in 1805 flower
painter to the Empress Josephine. Among his
pupils were Marie Antoinette, Josephine, and
Hortense. His chief works are lilies and roses,
' The Flower of Malmaison.' He died in Paris
in 1840.
REED, Joseph Charles, an English landscape
painter in water-colours, born in 1822. He was
elected an associate of the Water-Colour Institute
in 1860, and a member in 1866. His subjects were
confined to the scenery of the United Kingdom.
He died in London in 1877.
REEDER, Martin, a painter of still-life, born at
the Hague in 1802. He was a pupil of Van Cuy-
lenburgh and of J. Pieneman.
RBEKERS, Hbndhik, a painter of flowers and
fruit, born at Haarlem, 1815. He was a pupil of
his father, whom he greatly excelled in his art,
and of G. J. J. Van Os. He lived for a time at
Brussels, but returned in 1848 to Haarlem, where
he died in 1864.
Eotterdam. Museum. Fruits, Vegetables, and Game.
REEKERS, Jan, born at Haarlem, 1790, was
a pupil of Horstok, and a painter of portraits and
landscape. He died 1858.
353
BeesbronccL
A BIOGRAPHICAL DICTIONARY OF
Regnatilt
RBESBEONCQ.' See Rtsbeoeck, van.
REGAMEY, Guillatjme, a French military
painter, born in Paris in 1837. He studied under
Leooq de Boisbaudran and Bonvin, and afterwards
under Barye at the Academy, where he gained two
medals. His pictures were not at first successful ;
they were rejected for years at the Salon, and it
was not till 1863 that he first appeared there, as
a painter, with a 'Turcc' His first important
contribution, however, was a ' Batterie de tam-
bours des Grenadiers de la Garde,' which was
exhibited in 1865, and is now in the Mus6e at Pau.
This was followed two years later by ' Sapeurs : t^te
de colonne de 2°° Cuirassiers de la Garde,' which
made a great sensation, and is now in the Chalons
Museum. Eegamey was troubled all his life with
ill health, and his work went on in very inter-
mittent fashion about this time. He contrived,
however, to finish a third important picture for
the Salon of 1870 (' Tirailleurs Algdriens '), and then
the Franco-German War interrupted his studies.
Partly on account of his weakly constitution, partly
because he could be of use to his family by earn-
ing money for their support through the exercise
here of j|is talent, he left Paris for London, where
he lived and worked to the end of the war. Many
of his designs appeared in English periodicals,
especially the ' Illustrated London News.' In 1872
he returned to Paris, where he arrived in the midst
of the ' Commune.' During the last three years of
his life his work was again much interrupted by ill-
health, but at his death, on January 3, 1875, he left
finished the two last of the pictures named below :
Pau. Museum. The Drummers. 1866.
Chalona-sur-Mame. Museum. Sappers. 1868.
Marseilles. Museum. TiralUeite Alg^riens. 1866.
Cuirassiers in a Cabaret.
Drummers of a Grenadier Uegiment.
Eegamey's life is the subject of a sympathetic
notice byM. Ernest Chesneau ('Librairie de I'Art,'
1879).
EEGEMORTER, Ignatius Josephus van, a
Flemish historical, landscape, and genre painter
and engraver, born at Antwerp in 1785. He
studied under his father, Petrus Johannes, also
in Paris, Antwerp, Brussels, and Ghent. He died
at Antwerp in 1873. Amongst his works are :
Amsterdam. R. Museum. The old Fish-Market at Ant-
werp.
„ „ The Mfeage of Jan Steen.
„ Fodor Mus. Jan Steen and r. Van
Mieris.
Brussels. Museum An Autumn Morning.
Munich. Pinakothek, Interior of a Garret.
„ „ The Euined Cottage.
REGEMORTBR, Petrus Johannes van, a
Flemish landscape and genre painter, born in 1755
at Antwerp. He was a pupil of the Academy of
that city, but he owed much to his study of the
pictures in some private collections. He became
a professor in the Academy, and Dean in the
Painters' Guild in 1786. Many artists of note
studied under him, and he had a large practice
as a picture-restorer. In 1814 he was engaged in
bringing back the pictures taken by the French to
Paris. He died in 1830. In the Antwerp Museum
is a ' Shepherd and Flock ' by him. He excelled
in painting moonlights.
REGGIO, LucA DA. See Feeeaei.
REGILLO. See LiciNlo.
REGNARD, Val^men, a French engraver, who
was a scholar of Ph. Thomassin, flourished at Rome
about the years 1630-50. Among other things he
354 ^ «= .
engraved several of the plates for the collection of
prints from the antique statues, &c., in the Gius-
tiniani Gallery. He also engraved some plates
after the works of Giovanni Antonio Lelli, Pome-
rancio, Agostino Ciampelli, &c.
RE6NAULT, Alexandre Geoegbs Henei, born
in Paris in 1843, was the son of the director
of the Gobelins. He studied under Montfort,
Lamothe, and Cabanel, competed unsuccessfully
in 1863 for the Prix de Rome, but won it in
1866 with his 'Thetis presenting Arms to Achilles.'
In 1864 he sent two portraits to the Salon.
From 1866 to 1868 he was in Rome, where he
illustrated A. Wey's 'Journey to Rome,' with
twenty-seven drawings of the modem city, and
painted several good portraits and pictures of
horses. In 1868 he went to 5p^ii, where he
painted his famous portrait of Marshal Prim, and
copied the ' Lanzas ' of Velasquez. From Spain
Regnault went to Tangiers, to which he took a
strong liking, but in 1869 returned to Rome. In
1870 he was again in Africa, but was recalled to
his own country by the Franco-German War, in
which he was killed at the . attack on Buzenval
towards the evening of January 19th, 1871. No
one saw him fall, but next day the driver of an
ambulance found his body, which had the last
honours paid to it eight days later in the church
of St. Augustin. Works :
Portrait of the Comtesse B — — . 1869.
Portrait of Marshal Prim. 1869. Paris, Louvre.
Execntiou in the Alhambra. do, do.
Salom^. 1870.
La Madrilene, Water-colour. Paris, Luxemlxmrg Museum.
Paysan de la Manche. do.
The Alhambra ; entrance to the Hall of the Two Sisters.
do.
The Alhambra ; interior of the Hall of the Two Sisters.
do. ; and a series of fifteen sketches presented by V.
Eegnault, Member of the Institute.
REGNAULT, ^tiennb, born in Paris, 1649, a
painter of little note, who became a member of the
Academy in 1703. He died in 1720.
REGNAULT, Jean Baptiste, historical pahiter,
was born in Paris in 1754. When he was ten
years old his father took him a voyage to America
and Africa on board a merchant vessel. He was
away four years. When he was fifteen, he went to
Rome, where he studied under Bardin, and then
to Paris, where in 1776, with his ' Alexander at the
House of Diogenes,' he won the Prix de Rome. Re-
turning to Paris from Rome he was elected Fellow
of the Academy in 1783, with his ' Deliverance of
Andromeda.' His pictures are numerous, and consist
of historical, poetical, and allegorical subjects. Of
these Gabet has given a tolerably long list in his
' Dictionnaire des Artistes de I'ficole Pran9ais6, au
XIX" siecle,' but says that it is confined to his
principal productions. At his death, in addition
to his pictures, he left numerous academical studies,
designs, and finished sketches ; many of the latter
illustrative of Ovid's Metamorphoses, and other
poets. As a teacher Regnault was the great rival
of David. Among his scholars were Gulrin,
Crespin, Robert le Febvre, Menjaud, Lafitte, Bois-
selier, Blondel, and many others. Regnault died
in Paris in 1829. Works :
The Baptism of Christ ; Louvre.
The Education of Achilles ; the same.
The Descent from the Cross ; the same.
Pygmalion begging Venus to animate his statue ; the
same.
The Origin of Painting ; the same.
The Three Graces.
Regnault
PAINTERS AND BNGRAVEES.
Beinagle
The Judgment of Paris.
Venus on the Clouds.
Portrait of a Young "Woman ; Orleans Museum.
EEGNAULT, Nicolas Pbanqois, a French
painter and engraver, was born in Paris in 1749.
His wife Genevieve {nee Nangis) engraved a few
plates after her own and her husband's designs.
Among Eegnault's plates may be named :
Le Tceu de la Nature ; from his own design.
The Fountain of Love ; after Fragonard.
Truth and Tenderness ; after Lagrenie.
EEGNAULT, Thomas Casimie, a French painter
and line-engraver, was born at Bayeux in 1823.
He was a pupil of De Juine and of Henriquel-
Dupont, and is best known by his engraved por-
traits, among which are those of Voltaire, Made-
moiselle Mars, and the painter Meissonier, the last
after a miniature painted by Eegnault himself.
He died in Paris in 1871.
REGNB, — , a native of France, who flourished
about the year 1760. Among other prints he
engraved a set of plates of animals, which are
neatly executed.
EEGNESSON, Nicolas, a French draughtsman
and engraver, was born at Rheims about 1625.
There are by this artist a considerable number of his-
torical portraits engraved from his own drawings,
and after Philippe de Champaigne, Beaubrun, Fran-
9ois Chauveau, &c., besides compositions after other
painters. He was the master of Eobert Nanteuil,
who married one of his sisters. His daughter
Madeleine became the wife of Gerard Edelinok.
He died in Paris in 1670.
EEGNIEE, Fbans, an obscure' Dutch portrait
painter, who was at work in the Hague in 1776.
EEGNIER, Jacques Augusts, landscape painter,
born in Paris, 1787. He was a pupil of Bertin.
For more than forty years he exhibited landscapes
at the Salon, and was often premiated. Two
paintings by him decorate the chapel of St. Denis,
in the church of Saint Eoch, at Paris, and another
is in the Palace at Fontainebleau. Eegnier's last
years were passed in poverty and neglect, and he
committed suicide by drowning, in the Canal
de rOurcq, in Paris, in 1860. Among his better
works we may also name : ' The Tomb of King
Arthur,' a ' Joan of Arc,' and a ' Chartreuse en
Auvergne ' (1837), in the Museum of Toulouse.
EEGNIER, Jean, a Belgian painter of interiors
and of genre pictures, practising in 1853. He was
professor at the Industrial School at Verviers.
EEGOLIRON, Bernaedo, an Italian portrait
painter, practising in the second half of the 18th
century, was a pupil of P. P. Cristofani. At
Vienna there are portraits by him of the Emperor
Joseph II. and of his brother Leopold.
REGTEES, TiBOU'i', portrait painter, born at
Dordrecht, 1710. He was the pupil successively
of Ten Hage at Arnheim, of Meyer at Eotterdam,
and of Quinkhard at Amsterdam. He died at
Amsterdam in 1768. In the Eyks Museum there
is a portrait by him of the historian Jan Wagenaar,
and one of the painter Jan Ten Compe.
EEHBERG, Feibdrich, historical painter, born
in Hanover in 1758, studied first with Oeser in
Leipzig, then with Casanova and Schenau in
Dresden, and went in 1777 to Rome, where he
studied the old masters under Mengs, and measured
himself with David. In 1783 he returned to Han-
over, painted several portraits, became teacher of
drawing in Dessau in 1784, in 1786 Fellow, and in
1787 Professor of the Berlin Academy, and then
A A 2
returned to Rome. There he painted a ' Belisarius,'
an ' CEdipus and Antigone,' ' The Death of Abel,'
' Bacchus,' ' Orpheus and Eurydice,' ' Jupiter and
Venus.' In 1791 he went to Naples and made a
series of drawings from Lady Hamilton, which
were published. In 1813 he went to London, and
in 1814 painted an allegory of Napoleon's fall. In
the same year he returned for a time to Eome, but
eventually settled in Munich, where he published,
in 1824, 'Eaffael Sanzio von Urbino;' the Ele-
ments of Lithographic Drawing (' Anfangs griinde
des Steinzeichners '), with thirteen of his own litho-
graphs. Eehberg died at Munich the 20th August,
1836.
EEICH, Wendel, was an engraver on wood, who,
about the year 1516, flourished at Lyons, where he
published several cuts marked with a W. and an
E. joined together. We cannot, however, specify
any of them. He was also a bookseller, and lived
at Strasburg in 1540. Bartsch (' Peintre-Graveur,'
ix. 170) has described a print bearing his cipher,
supposed to be by him.
REICHEL, Jakob, in the first part of this cen-
tury was working as a miniature painter at St.
Petersburg, and painted portraits of the Emperor
Alexander I., the Empress Marie, and most of the
principal personages of the empire. He died at
Brussels in 1866.
REICHENBACH, Lud. von. See Simanowitz.
REIOHENTHAL, Ulrich von, a writer of the
15th century, who illustrated a ' History of the
Council of Constance,' which he himself wrote,
with a number of well-executed paintings in
miniature.
REICHMANN, Georg Peiedeich, painter, born
at Munden in 1798, went through the campaign of
1813-1815, and then went to the Academy at
Cassel. In 1821 he went to Munich, where he
made himself a name with his ' CEdipus and Anti-
gone.' He afterwards devoted himself to portrait-
painting, and produced among others a portrait
of the Duchess of Cambridge. He died at Han-
over in 1853.
EEIGLER, Paul, landscape painter, practising
in Belgium about 1845. He was a pupil of the
Spa School of Painting.
REIGNIER, Jean, flower painter, was born at
Lyons, August 3, 1815. He was a pupil of
the Lyons school of art, and until 1846 employed
his talents in designing for the silk manufacturers.
Afterwards he turned his attention to fine art, and
in 1864 became a professor in the school in which
he had been a pupil. He formed many scholars.
His flower-pieces and fan-paintingsare very clever,
though a little stiff and academical. Reignier had
much oflScial recognition. He died in 1885.
REIMER, Geoeg, painter, produced small cabinet
pictures and died in Berlin in 1866. His best
known work is ' Before the Sermon.'
REINAGLE, George Philip, marine painter,
son of Richard Ramsay Reinagle, and grandson of
Philip Reinagle, was born in 1802, and instructed by
his father. He gave early proofs of great talent as
a painter of marine subjects. After successfully
copying pictures by Everdingen, Backhuysen, and
William van de Velde, he accompanied the expedi-
tion to Navarino, for the express purpose of giving
a representation of the expected action, and was
also with Admiral Napier's Fleet in the action with
the Portuguese. His worts cause regret at the
shortness of his career. He died in London in
1835.
355
Beiuagle
A BIOGRAPHICAL DICTIONARY OF
Keinliart
REINAGrLE, Philip, a landscape, animal, and
panoramic painter, bom in 1749, was a scholar of
Allan Ramsay, the court painter, whom he assisted
in his ofBcial portraits of George III. and Queen
Charlotte. It is recorded that on one occasion
Ramsay left England for some months, and deputed
Reinagle to paint fifty pairs of ' Kings and Queens '
at ten guineas a-piece. This task was duly per-
formed, bnt it disgusted Reinagle with portrait
painting, and he turned his attention to the study
of animals, with which he succeeded to admiration.
His pictures of hunting subjects, sporting dogs
(particularly the spaniel), shaggy ponies, and dead
game, were among the best of the day. He studied
rather the manner of the old Dutch painters than
that of his contemporaries, and was an excellent
copyist of their works, and many pictures now
called Paul Potter, A. van de Velde, Berchem,
Karel du Jardin, &c., were really painted by him.
He assisted Barlter, too, in his panoramic Views
of Rome, the Bay of Naples, Florence, Gibraltar,
Algesiras Bay, and Paris. The work by which
he is best known, however, is ' The Sportsman's
Cabinet,' or correct delineations of the various dogs
used in the sports of the field, taken from life, and
engraved by John Scott. Reinagle was elected
A.R.A. in 1787, and R.A. in 1812. He died at
Chelsea in 1833.
REINAGLE, Ramsay Richard, an English
animal and landscape painter, born in 1776. He
was the son of P. Reinagle, by whom he was
instructed, completing his art training in Italy
and Holland. He exhibited at the Water-Colour
Society, of which he was a member from 1806 to
1813. In the following year he was elected an
Associate of the Academy, becoming a full member
in 1823. His later years were clouded by his
enforced retirement from the Academy, which was
brought about by liia exhibiting, as his own, a
picture which he had only purchased. This took
place in 1848. He afterwards sank into poverty,
and was generously treated by the Academy, on
the funds of which he became a pensioner. He
died at Chelsea in 1862. Amongst his works are :
London. IBridgewater House. Landscape.
„ Grosvenor House. Landscape.
South Kensington. Museum. Eydal Mountains.
„ „ Three landscapes in
water-colours.
Edinburgh. National Gallery. A very fine copy of the
' Coup de Lance,' by
Rubens.
REINDEL, Albert Christoph, a German en-
graver, was born at Nuremberg in 1784. He was
apprenticed to Heinrioh Guttenberg in 1798, and
worked from 1803 to 1809 under his direction in
Paris. In 1821 he was entrusted with the restora-
tion of the baths at Nuremberg, in which he
acquitted himself very well. In 1811 he was ap-
pointed director of the school of art in Nurem-
berg, keeper of the picture gallery, and a member
of the Munich Academy. He died at Nuremberg
in 1853. His chief plates are :
The Virgin and Child ; after Leonardo da Vinci.
Charlemagne ; after Surer.
The Four Apostles ; after the same.
The Shrine of St. Sebald ; after P. Vischer.
Louis I., King of Bavaria ; after Stieler.
Silence ; after Annibale Carracci.
St. Paul preaching ; after Le Sueur,
Diirer ; after Rauch.
Madonna ; after a Nuremberg woo'lcut.
Christ blessing Little Children ; after Heinric'i Hess.
356
REINER, Wenzel Lorenz, bom at Prague in
1686, and son of Joseph Reiner, a sculptor of little
note, by whom he was instructed in the rudi-
ments of design: he also took lessons of Peter
Brandel, a painter of some reputation, and of
Schweiger. By the assistance of this master, and
the study of nature, Reiner became a painter of
some repute. His talents were not confined to
any particular branch, and he painted with con-
siderable success historical subjects, landscapes,
and battles. His best productions, however, were
landscapes with cattle, and battle-pieces, in which
he resembles Peter van Bloemen. His figures and
animals are correctly drawn, and handled with
freedom and spirit. His works are chiefly con-
fined to his own country, where they are found
in the best collections. He died in 1743. Works:
Dresden. Gallery. The Campo Vacoiuo, Borne.
„ „ Golden House of Nero, and
Barberini Fountain, Eome.
REINERMANN, Anna Maeqakethe, wife of
Friedrioh Christian Reinermann, lived from 1781
to 1855, and painted flowers and fruit in oil and
water-colour. Her maiden name was Hollenbach.
REINERMANN, Feibdhich Christian, bom at
Wetzlar in 1764, received his first instruction in
Frankfort from Nothnagel, and then went to study
in 1789 in the Gallery of Cassel, after Potter,
Berchem, and Claude Lorraine. He also visited
Rome, and lived in Switzerland for ten years,
where he painted several landscapes. From 1803
to 1811 he worked in Frankfort, from 1811 to
1818 in Wetzlar, and then again in Frankfort.
He died at Frankfort in 1835. Works :
The Cascades at Tivoli.
PLATES.
An Animal piece ; after H. Eoos.
Goats on the Apennines ; a.fter Berchem.
Study of a Horse ; after Wouwerma-n.
Several Views in the Neighbourhood of the Moselle ;
in aquatint, after his own drawings.
REINHARD, Anna Maria. See Kustek, Jo-
HANN Kaspae,
REINHARDT, Emilie, born at Amsterdam,
1809, was a flower painter, and a pupil of Pierre
Joseph Redouts.
REINHARDT, Karl Aughst, painter, bom at
Leipzig in 1818, was originally destined for the
Church, but turned his talents to art. He travelled
through Norway, the Tyrol, and Italy, but after-
wards abandoned landscape for caricature, and
produced humorous pen and ink sketches for the
comic papers. He died at Kotzsohenbroda, near
Dresden, in 1877.
REINHARDT, Ludwig, an obscure painter of
genre pictures, who committed suicide at Munich
in 1870.
REINHARDT, Sophia, born at Kirchberg in
1776, studied under Becker, and travelled through
Italy, Austria, and Hungary. In the Kunsthalle
at Carlsruhe, are a ' St. Elizabeth and the infant St.
John,' ' The Death of St. Katharine of Siena,'
and ' Death of Torquato Tasso ' by her. She died
in 1843.
REINHART, Hans, called Grieningeb, a printer
and engraver of the 15th and 16th centuries, who
flourished at Strasburg, was a native of Grtinin-
gen in Wiirtemberg. He engraved the plates for
several works, among which were : Brandt's ' The
Ship of Fools,' 1497; Jerome of Brunswick's
'Book of Surgery'; Terence, 1496; Boccaccio's
' Cento Novelle,' 1519 ; Adelphus's ' Barbarossa,'
Reiuhart
PAINTERS AND ENGRAVERS.
Bejhaa
1520 ; Virgil, with two hundred plates, 1502 ;
Ptolemy's G-eography, with forty-seven wood-cuts,
1522. His works show him to have been a pupil
of Martin Schongauer.
REINHART, Johann Christian, a German
landscape painter, born at Hof (Upper Franconia)
in 1761. When young, he studied theology at
Leipsic, but preferring to devote himself to art,
became a scholar of Oeser. About 1785 he made
the acquaintance of the Duke of Meiningen, who
invited him to his court, where he painted both
portraits and landscapes. In 1789 he settled at
Rome, where he became one of the pioneers and
most influential spirits in the so-called regeneration
of German art. In 1825 he painted a room in the
Villa Massimi, with eight historical landscapes
in tempera, and four years later four large tempera
landscapes for King Ludwig of Bavaria. Rein-
hart fell into reduced circumstances in his latter
years, and died at Rome in 1847. The following
are some of his pictures :
Frankfort. Stddel Gall, Landscape, Cain and Abel,
Grotha. Gallery. Landscape. 1816.
Leipsic. Museum. Landscape, Cupid and Psyche.
1828.
„ „ Landscape, Hypsipyle.
Munich. Finakothek. Landscape. 1846.
He devoted considerable attention to aquatint
engraving, and published several volumes of
plates. The chief of these are :
Thierstudien, in Bom gezeichnet und radirt.
Italienische Landschaften.
Alte Grabmaler.
REINHEIMER, Ursula Magdalbna, painter,
born at Nuremberg. She was the daughter of
Maria Prestel {q. u), and practised for some time
in London, painting landscape, portrait, and
flower pieces. She afterwards settled at Brussels,
where she died in 1845. She also engraved a few
plates in aquatint.
REINHOLD, Peiedeich Philipp, landscape
painter, born at Gera in 1799, worked at the
Academy in Vienna, in which city he took up his
residence. His principal works are, 'A land-
scape with thunder-clouds ; ' 'A landscape with
the Wandering Jew,' a very original work ; two
pictures, ' Death and Life,' ' The Reapers at their
Meal.' He died between 1840 and 1843.
REINHOLD, Heinbioh, brother of Friedrich
Reinhold, painter and engraver, born at Gera in
1789, went from Dresden, where he first studied,
to his brother in Vienna, where he visited the
Academy, and then in 1809 to Paris, to Denon, for
whom he engraved several plates for his work on
Napoleon's campaigns. In 1819 he returned to
Vienna, and in 1820 travelled with an English
family to Italy, and settled in Rome, where he
painted heroic landscapes. Reinhold died at
Albano in 1825. Works:
Berlin. National Gall. A Sicilian Coast Scene.
Copenhagen. Thor- \ „ ■ ^, nesBrf;
waldsen Museum. ] ^^^ar m tbe Uesert.
„ „ The Good Samaritan.
tHam.cii.lSfewPindkoihek. The Garden of the Capuchins
at Sorrento.
REINICK, RoBEBT, painter, born at Dantzig in
1805, studied first at Berlin under Begas ; worked
at Diisseldorf from 1831 to 1838, then went to
Italy, and finally settled in Dresden. He was
also a poet, and issued several songs with illus-
trations, besides a few books for children. He
died at Dresden in 1852.
REINIGER, Ernst, a landscape painter, was
a native of Stiittgart. He was very ready with his
brush, and his pictures were fresh and natural.
He died at Munich in 1873. Works :
The Maderanerthal.
The Ramsau.
Miihlthal, on the Stamberger See.
REINSPERGER, Johann Cheistoph, a Ger-
man painter and engraver, bom at Nuremberg in
1711, was a scholar of Liotard, and practised for
some time at Vienna. He painted portraits, some
of which he has engraved in a coarse, heavy style,
nearly as large as life, among which are :
The Empress Dowager, Elizabeth Christiana.
Joseph II. , Emperor of Germany ; after Palko.
Maria Theresa, Empress of Austria ; after Liotard,
The Archduke Leopold of Tuscany ; after Palko.
He also engraved a plate of 'The Lute-player,'
after Bernardo Strozzi. He died at Vienna in
1777.
REISEN, Chakles Christian, the well-known
medallist and seal engraver, was born in London
about 1680. He merits a place here through his-
abilities as a draughtsman, and the work he did as
Director of Kneller's school. He was much em-
ployed for foreign patrons, in seal engraving, and
greatly helped by the Earl of Oxford. He lived in
the neighbourhood of Covent Garden, but also had
a house at Putney. He was a large collector of
medals, books, and drawings. He died December
16, 1725, and was buried in St. Paul's, Covent
Garden.
REITER, Baetolomk, a painter and engraver
of Munich, flourished during the first quarter of
the 17th century. He was a scholar of Hans
Ostendorfer the younger, and of one Hennenberger,
and, traditionally, one of the best painters of
Munich in his time ; it is also said that he had
many pupils. In the chapel in Unter Ammergau is
a picture of St. Vitus, signed B. R. F. 1618. He
died at Munich in 1622. The following is a list
of Reiter's prints, on which his reputation must
now rest :
1. Christ holding the Globe in His right hand.
2. Christ seated, crowned with thorns ; Bartlme Seitter
— Pictor. Inv. Monachij 1615.
3. Christ carrying His Cross, group of half-length figures ;
Georg BeKam inv. MonacMi. Bart. Better fee. 1610.
4. Christ exposed to the People ; inscribed Micce Sojiu).
Bart. Reiter pictor Jiyur. Monachij X612 fee.
5. The Holy Family with St. Francis or St. Jerome,
half-figures, a copy after PalmJi, with both mono-
grams.
6. St. Jerome sitting in a Cavern, half-figure, the lion
on the left : signed BaH. Reytter pictor inv. et excud.
There is an impression signed Bartholome Seuter.
7. A Nymph sitting in the lap of a Satyr, Cupid at their
feet ; Bart. Better fee. Monachij 1610.
8. Venus holding a Mu:ror, and seated with Cupid under
a Tree, half figures; Georg. Beeham inv. B. Eeyter
fee. 1610.
9. Neptune on a Sea-Horse holJiing his Trident ; Georg
Beham inv. Monachy, with Belter's mark, and the date
1610.
10. A Child seated on a Skull and blowing Bubbles ; B.
B. F. Monachi Zimmermann Exeud.
11 — 18. Eight prints, a series of nalied Children in
different positions ; marked B. E.
REITZ, E., a native of Sweden, flourished about
the year 1700. He engraved several plates of
coins and architectural views for a work entitled
' Sueoia Antiqua et Hodiema.'
REJHAN, JozEF, a Polish portrait painter of
German origin, wan born in Poland about 1762, and
in struoted in the rudiments of art at Warsaw. In
357
Kektorzik
A BIOGRAPHICAL DICTIONARY OP
Iteng
1794 he served in the Polish army, but in 1798 he
settled at Lemberg in Galicia, where he died in
1822, aged sixty. Rejhan was chiefly engaged as
a portrait painter, and in that branch of art
occupies a high position among Polish artists, but
his pictures of the ' Crucifixion ' and the ' Nativity '
in the Lutheran Church and the Church of St.
Anne at Lemberg also show a high conception of
art.
REKTOEZIK, Peanz Loeenz Joseph, painter,
born at Briinn in 1793, was at first in the Foreign
Office, and in 1815 was Interpreter at Valence to
the Austrian Governor, and then Director in the
Chancery. He painted without having received
any set instruction, and produced several etchings
of landscapes, animals, and genre pictures.
KBLINDE, Abbess of the convent of Alten-
Eyck, near Maeseycfc, and her sister Heelinde
were skilful illuminators upon parchment and vel-
lum, and flourished in Flanders in the 7th century.
Some specimens of their work are still in exist-
ence in the treasury of the ancient church of
Maeseyck.
REM, Gaspae, a Flemish painter of little note,
who was born in 1542, and died in 1614. In 1554
one Jasper Rem was inscribed as pupil to Willem
van Cleeve, at Antwerp, and he seems to have be-
longed to a large family of artists. In 1578 Rem
was in Venice, where his portrait was painted by
H. van Aken. Three other painters of this name,
Hans, Joeis, and Lodewyck, are mentioned in a
document of 1603, disco\-ered by Mr. Bredius. At
Vienna there are two pictures by Gaspar Rem : a
'St. Jerome in the Desert' (engraved by Sadeler,
not in 1605 as Nagler says, but in 1603), and a
portrait of himself which is thus signed: a(nn)o
d(omi)ni mdoxiiii effigie(s) gaspae eem ;etat
SVE LXII.
EEMAUT, PiBBEB, portrait painter, born at
Bruges in 1771. He studied at the Academy at
Bruges, but without achieving much excellence in
his art. He died in 1826. At the ' HSpital St.
Jean ' at Bruges there is a portrait by him of one
of the Superiors of the Hospital.
REMAUX, Des, an obscure painter, a native of
Ypres, who practised in Flanders at the end of
the 17th century. In the church of St. Bertin, at
Poperinghe, there is a ' Holy Family ' by him.
REMBOLD, Matthaus, was a German engraver,
who flourished about the year 1635 in Ulm, and
about 1654 in Stuttgart. His plates are generally
signed with a monogram, but sometimes thus :
Math. Remb. He engraved portraits, amongst
others that of the Duke of Wiirtemberg, and he
also executed the architectural plates for Furten-
bach' s ' Architecture.'
REMBRANDT. See Run.
REMEBUS, David, painter, was Dean of the
Guild of St. Luke at Antwerp in 1601.
REMES, Charles, a Belgian painter, born at
Wetteren, practised in the first part of the 19th
century. There are by him a ' Blind Beggar ' and
a ' Madonna of the Rosary.'
REMOND, Jean Charles Joseph, landscape
painter, bom in Paris, 1794, a pupil of Bertin and
of Regnault. He began by painting conventional
heroic landscape, but after travelling much in
France, Italy, and Sicily, he adopted a simpler
and more natural style. He painted many views
of the scenery of Auvergne, Dauphiny, Calabria,
and Sicily. He won the usual honours from the
French Government, and died in Paris in 1876.
358
REMONDE, (RoMUNDE, Roemunde, Roabmunde,)
EvEEAED DE, a Flemish portrait painter, the details
of whose life and works are unknown, but wh<j, in
1616, received a commission from the Chambre des
Comptes of Brabant to paint the portraits of Albert
and Isabella. Paul van Somer received a similar
commission at the same time.
EEMSDYKE, Andrew, a portrait painter and
draughtsman of Dutch descent, who practised in
England in the latter part of the 18th century. He
gained a medal at the Society of Arts in 1767,
and assisted his father, John Remsdyke, in a series
of natural history illustrations. He died at Bath
in 1786.
REMSDYKE, John, a natural history draughts-
man, born in Holland in the first half of the 18th
century. He settled at Bristol and worked much
for Dr. Hunter. Assisted by his son, he published,
in 1778, a collection of natural history illustrations
taken from the British Museum.
BEMSHARDT, Kael, a German engraver, born
at Augsburg in 1678, published a dictionary of
monograms. His initials, C. R., appear on some
etchings of architecture after Paul Decker. Nagler
mentions several others by him, some of which
are copies from earlier engravingSi He died at
Augsburg in 1766.
EEMY, August, painter, was a professor of the
Academy of Berlin, bom in 1800 or 1801. He
painted portraits and historical subjects. His best
known work is ' The Fisherman's Wife.' He died
at Berlin in 1872. His daughter Maria Remt,
born at Berlin, 1829, practised fruit and flower-
painting.
RENANTO, J., is mentioned as the engraver
of a wood-cut representing ' The Wise Men's
Offering,' which is very indifferently executed.
RENARD, Jean, was a French engraver, who
resided in Paris about the year 1710. He executed
some plates for a collection of views of the palace
and park at Versailles.
RENATUS. See Boivin, Ren^S.
RENAUD, Maeie Honoei^, miniaturist and
painter upon porcelain, was born in Paris, 1797.
Amongst his miniatures we may mention a ' Holy
Family,' after Raphael, and ' Van Dycfc painting his
first picture,' after Ducis.
RENAUDIN, Rosalie, a pupil of Girodet, prac-
tising in Prance in the early part of the 19lh
century. She painted portj-aits, flowers, and fruit,
both in oil and water-colour, and occasionally
miniatures. There are by her a ' Sleeping Endy-
mion,' after Girodet, and a 'Zephyrus on the
Waters,' after Prud'hon.
REN DEUX, Englebekt, marine painter, born
at Li&ge, 1719. He worked for a time under
Joseph Vernet, and eventually became a priest,
and settled in Rome, where he held the office of
almoner to Prince Berzonico. He died in 1777.
RENE of Anjou, King -of Naples, Duke of
Lorraine, and Count of Provence (father to Mar-
garet, wife of Henry VI. of England), born in 1409,
was a good painter. He painted his own portrait,
which was extant some years ago in the chapfel
of the Carmelites at Aix ; and there is a print from
it in Montfaucon ; he is supposed to have painted
that of Charles VII. of France, also. He painted
a large number of miniatures in missals and on
glass, and was lauded as one of the best artists of
his age. He also employed himself in writing
poetry, and works on agriculture, and in the im-
provement of the condition of his people, by whom
Renedo
PAINTEES AND ENGRAVERS.
Ite&i
he was called ' le bon roi Ren6.' The events of his
life belong to history. Examples of his works exist
at Aix, Villeneuve near Avignon, and the H6tel de
Cluny. At Aix is an altar-piece consisting of a centre
representing Moses on the ground taking ofE his
shoes, and the burning bush ; and two shutters, the
left one, his own portrait, with Saints, and the
right one, his second wife, Jeanne de Laval, with
Saints. The work in Cluny ascribed to him is a
curious old picture on panel of ' Mary Magdalene
at Marseilles.' In the foreground appear the figures
of King Ren^ and his wife Jeanne. Around them
are grouped the Marseillais, in a circle of which the
Magdalen is the centre. She stands upon a tribune
and addresses the assembly. In the background
are the city of Marseilles and the sea. To c^uote
the words of Cesar Nostradamus (' Hist, et Chron.
de Provence,' edit. 1614), Rend, "besides his
sublime and royal qualities, was a good musician,
a very good poet both in French and Italian, and
above all things loved, with a passionate love, the
art of painting, and had so excellent a taste for
that noble profession, that he was famous among
the most excellent painters and illuminators of his
time, as we may judge from the number of
masterpieces achieved by his royal anddivine hand."
He died at Aix in 1480.
RENEDO, JtJAN DB, an engraver of Zaragoza,
executed in 1666 a bold title-page adorned with
heraldic and allegorical devices for Diego de Sayas
Eabanera's ' Anales de Aragon.'
RENESSE, CONSTANTIN Adeian, was a clever
designer and etcher, of whose history nothing is
known, except what may be gathered from his
prints. These bear a considerable resemblance to
the etchings of Rembrandt, and may be mistaken
by the unwary for the works of that master.
Bartsch has admitted one in his Catalogue (torn.
ii. p. 104, No. 18). Renesse flourished, as we know
from his prints, between the years 1649 and 1661 ;
the probability is that he lived in Holland, though
his name may belong to France, or Flanders.
Nagler describes six etchings by him, of which
the titles are given below ; but Brulliot says there
are eleven, and that one bears his monogram
(0. A. jB. in a cipher), and this he supposes is
the artist's portrait ; it represents a half-length
figure of a man, full face, wearing a ' baret,' seated
at a table and holding a basin in his left hand.
The other prints have, most of them, the mono-
gram accompanied by enesse. Dutch writers men-
tion a J. Renesse, who painted landscapes and sea-
pieces, and who is probably identical with this
engraver.
The following list of Renesse's prints is taken
from Nagler :
A half-length figure of a Man seated at a table ; with
the monogram.
A Clergyman seated at a table, with books, &o. ; signed
ReTiesse,
A half-length figure of a young Man.
Full-face Portrait of a young Man, with long hair
escaping from under his cap; signed C. A. Eenesse,
1651.
Christ bearing His Cross.
A Village Fair, with Mountebanks and a, crowd of
People.
RBNI, GuiDO, commonly called GuiDO, was born
at Calvenzano, near Bologna, in 1575. His father,
a music master, placed him first with Denis Cal-
vaert, and afterwards in the studio of the Carracci.
He also studied fresco painting under Ferrantini.
His first works, however, betray the imitation of
Caravaggio, combined with a sincere regard for
nature. To this period of his life belong some
frescoes on the fa9ade of the Palazzo Zani, and a
' St. Benedict in the Wilderness,' in the church
of San Michele in Bosco, as well as two famous
pictures in the Bologna Gallery, the ' Massacre
of the Innocents ' and the ' Pietk' In 1596 Guido
went to Rome. There he added the study of
Raphael to Jhe knowledge he had gathered in his
native city, and under the new influence painted
what is now usually considered his best picture.
This is the famous ' Aurora preceding the Chariot
of the Sun,' in the garden-pavilion of the Palazzo
Eospigliosi. About the same time he produced
the ' St. Michael ' at the Capuoini, and the ' For-
tune ' of the Academy of St. Luke. After painting
the 'Aurora' he revisited Bologna, but was soon
recalled to Rome. He also spent some time in
Naples, whence, like so many other artists, he was
driven by the jealousy of the Neapolitan painters.
But in Naples he left a specimen of his talent in
what is looked upon by some of the best authorities
as really his finest work. This is a ' Nativity.' It
is in the choir of San Martino, and' is unfinished.
About this period of his life Guido finally aban-
doned the energetic style of his youth, and adopted
one in which a rather invertebrate grace and a
preference for almost neutral tints are conspicuous.
His heads were often modelled on the antique. His
' Ecce Homos ' recall the Laocoon ; his ' Penitent
Magdalens,' the weeping Niobe. The imperson-
ality of Greek art seems, too, to have, perhaps
unconsciously, fascinated him, until his figures
at last became mere abstractions of humanity. He
had three distinct manners. His first, in wliich
colour was used in a harsh, gaudy fashion, is illus-
trated by a small ' Coronation of the Virgin ' in
the National Gallery. His second is the vigorous
style, much too black in the shadows, borrowed
from Caravaggio. His third is characterized by
thinness of impasto, by a pearly silveriness of
colour, and by extreme facility of handling. To-
wards the end of his life Guido is said to have
been an inveterate gambler, and to have forced his
gift of rapid execution in order to supply the losses
thus incurred. He died at Bologna in 1642.
Guido had ateliers for pupils both in Rome
and Bologna. The painters he formed were very
numerous. The following are, perhaps, the best
known : Giacomo Semenza, Francesco Jessi, Guido
Cagnacci, the Siranis, father and daughter, Simone
Contarini da Pesaro, Plaminio Torre, Marescotti,
Girolamo Rossi, Rugieri, Domenico Canuti, Bolog-
nini, and Pietro Ricci. All these are well repre-
sented in the Gallery of Bologna. Guide's own
pictures are so numerous that space can here only
be found for the names of the best known and
more accessible. In the first half of the 19th
century Guido was one of the most popular of
masters, and very large sums were given for his
pictures in England and France. The churches
and Palazzi of Italy are full of them, and scarcely
a gallery in Europe is without at least one example
of his work.
Mater Dolorosa.
The Hermits, Paul and Anthony,
in the Desert.
Massacre of the Innocents.
The Madonna and Child, adored
by SS. Petronius, Domenic,
Francis of Assisi, Francis
Xavier, Proculus and Florian,
the patrons of Bologna.
359
Berlin.
Bologna.
Gallery.
Iteni
Bologna.
A BIOGEAPHICAL DICTIONARY OF
Brunswick.
Brussels.
j»
Darmstadt.
Dijon.
Dresden.
Dulwich.
QalUry. Samson. Munich.
„ Christ crucified, with the "Virgin,
St. John, and St. Mary Mag-
dalen.
„ Pieta, with Saints. Nantes.
„ Coronation of the Virgin.
„ St. Sebastian, martyr.
„ St. Andrea Oorsini, bishop of
Fiesole.
S. Fetronio. The Glory of St. Domenic. Paris.
[Fresco.)
S. Michele in \ g^ Benedict in the Wilderness.
Bo&co. j
Gallm/. Cephalus and Prooris.
„ The Flight into Egypt.
A Sibyl.
„ Two Pictures.
Musie. Triumph of Venus.
Gallery. Venus and Cupid.
„ The Child Bacchus.
„ Ninus and Semiramis.
„ The Virgin adoring the Infant
Christ.
„ Ecce Homo {three exmnples).
„ Christ appearing to Mary
after the Resurrection :
Carlo Borromeo, an Angel,
and Adam and Eve in the
background.
„ St. Jerome.
„ Enthroned Madonna, with St.
Jerome and other Saints.
Qallery. St. John the Baptist preaching.
^ „ Death of Lucretia.
Edinburgh. Nat. Gallery. An Boce Homo (copy').
J, „ Venus attired by the Graces.
jj „ The Dead Christ in the Arms
of the Father.
rioreuce. Fitti Palace. Portrait of an Old Man.
„ Bacchus.
St. Peter.
„ „ Eebecca at the 'Well,
„ „ Cleopatra.
„ Charity.
„ „ St. Elizabeth.
„ Vffizi. The Cumajan Sibyl.
„ „ Bradamante as a Warrior.
„ The Virgin with the Child
Christ.
„ „ The Blessed Virgin (in the
Trihune).
Gallery. The Penitent Magdalen.
Judith with the Head of Holo-
fernes.
Coronation of the Virgin {early
manned").
„ „ Lot and his Daughters leaving
Sodom {second Tnannei^).
J, „ Susannah and the Elders.
„ „ St. Jerome.
„ „ The Penitent Magdalen (third
manner).
„ „ Ecce Homo.
Hadrid. Museo, Lucretia.
„ „ Cleopatra.
„ „ Madonna and Child.
„ „ St. Sebastian.
„ „ St. James.
„ „ The Assumption.
„ „ Martyrdom of St. ApoUouia.
„ „ St. ApoUonia in Prayer.
„ „ St. Mary Magdalene.
„ „ St. Jerome in the Desert.
„ „ St. Peter.
„ „ St. Paul.
„ „ St. Paul writing (and two
others).
St, Paul reproaching St. Peter.
An Apostle reading in an open
book.
Gallery. Christ on the Cross.
Gallery. The Assumption of the Virgin.
13 Apollo flaying Marsyas.
„ The Penitent Peter.
„ The Apostle John,
Gallery.
Louvre.
Petersburg. Hermitage.
Glasgow.
Hampton Court.
London. Nat. Gallery.
Milan. Brera Gallery,
Modena.
Mimioh.
360
Beni
St. Jerome in the Desert,
reading.
The Magdalen, in a cavern,
gazing at two floating angels.
St. John the Baptist and the
Lamb.
St. Francis in Ecstasy.
A Eoman Charity (and four
others).
David, the Conqueror of Go-
liath.
The Annunciation.
The Purification of the Virgin.
Madonna and Child.
A Holy Family.
Christ and the Samaritan
Woman.
Christ's Charge to Peter.
Christ in the Garden of
Olives.
An Ecce Homo.
The Penitent Magdalen (two
versions).
St. Sebastian.
The Union of Design and
Colour.
Hercules killing the Lymsean
Hydra.
Hercules and Achelous.
Dejanira and the Centaur
Nessus (afid two others).
David with Goliath's Head.
Adoration of the Shepherds.
Adoration of the Magi.
A ' Riposo.'
Madonna, with St. Francis
adoring.
The Penitent Peter.
The Dispute of the Fathers
upon the Immaculate Con-
ception.
St. Jerome.
The Rape of Enropa.
Cleopatra.
The Seamstresses (once called
' The Youth of the Virgin ').
Frescoes in the Chapel of the
Sacrament.
ISt. Andrew on his way to
J martyrdom.
A Concert of Angels (fresco).
Aurora and the Hours, with
the Chariot of the Sun.
) Judith with the Head of Holo-
J femes.
Beatrice Cenci (?).
Fortune.
Apollo flaying Marsyas.
Christ holding His Cross.
St. Jerome in the Desert.
Apollo flaying Marsyas.
Group of Children.
The Virgin adoring the Sleep-
ing Christ.
„ „ Madonna and Child with St.
John.
„ „ The Baptism of Christ.
„ „ Ecce Homo (two versions).
„ „ The Presentation iu the
Temple.
„ „ The Penitent Magdalen.
„ „ The Penitent Peter.
The Youthful David.
„ „ A Sibyl.
„ „ The Seasons.
Guido has left a considerable number of etchings.
They are free and bold in execution, and show the
same qualities of grace that we find in his pictures.
Simone Contarini, one of Guide's pupils, imitated
his worlc with the point with skill. Guido some-
times marlced his plates with his initials, G. B.;
sometimes witli this monogram f\f The
following are perhaps his best plates : ^J^ '
Ravenna.
Rome.
Cathedral,
Toulouse
Turin.
))
Vienna.
Capella S.
Andrea.
Capella S, Silvia.
Fal. Rospigliosi.
Pal. Spada-
Flamini.
Pal. Barherini.
Capitol.
Gallery.
Gallery.
Reni
PAINTERS AND ENGRAVERS.
Kestallino
FROM HIS OWN DESIGNS.
The Bust of Pope Paul V., inscribed Faulus V. Font.
opt. vtax.
The Holy Family, ia which the Virgin is seated, with
her face towards the Infant Christ.
The Virgin, with the Infant Jesus sleeping on her breast.
(He has engraved this subject in three different
manners.)
The Virgin embracing the Infant Christ, and holding a
book in her hand.
The Virgin, and Infant Jesus giving His hand to St.
John.
The Holy Family, with two Angels scattering flowers.
(He engraved this subject four times, with variations.)
St. Christopher carrying the Infant Jesus on his
shoulders.
St. Jerome praying in a. Cave, with a book and a
crucifix.
The Virgin seated in the Clouds, with St. George, St.
Francis, St. Lawrence, and others.
AFTER VARIOUS MASTERS.
A Glory of Angels ; after Zuca Camhiaso.
The Entombment of Christ ; after Parmigiano.
The Holy Family, with St. Clara ; after A. Carracci.
The Virgin suckling the Infant Jesus ; after the same.
The Charity of St. Eoch ; after the same. 1610.
"W.A.
RENT, Lorenzo del Signor. See Loli.
RENNOLDSON, — , was an engraver, who prac-
tised in mezzotint in London in the middle of the
18th century. His best known plate is ' The
Dancing-Mistress,' after John Collet.
RENODI, Abraham, an obscure portrait painter,
born at the Hague, practising in Holland at the
close of the 18th century.
RENDU, Antoine, a French painter, poet, and
actor, born in Paris in 1731, was a scholar of
Pierre and Vien, and passed some time at the
court of Stanislaus, King of Poland, as painter to
that prince ; and at the same time exercised his
talents as an actor and writer of verses. On his
return to Paris he was admitted a member of the
Academy of Painting, and was employed on part
of the ceiling of the Apollo Gallery in the Louvre.
He was the author of a tragedy on the subject of
Tereus and Philomela, and translated Dufresnoy's
poem on Painting from Latin into Trench. He
also painted a picture of ' Christ among the
Doctors;' 'Agrippina with the Ashes of Ger-
manicus ; ' an ' Annunciation ' for the church of
St. Germain-en-Laye, and the ceiling of the Hotel
de la Monnaie at Paris. Renou died in Paris in
1806.
RENOU, LomsB Antoinette (nee Lucas), the
wife of Antoine Renou, was born in Paris in 1754.
There are by her a few plates engraved after the
modern French painters ; among which is :
Alexander and his Physician ; after Colin de Vermont.
RENOUX, Charles Caius, a French landscape
painter, was born in Paris in 1795, and died there
in 1846. He painted landscape and interiors.
There are by him the following :
Monks bearing a ColBn.
Subterranean Church at Basle.
View on the Durance.
RENTINCK, Arent, or Aaet, a Dutch painter
of portraits and genre, was born at Amsterdam in
1712. He was a pupil of Arnold van Boonen and
of Nicolaas Verkolje. Later on he studied under
Karel de Moor; He spent many years at Berlin,
and there he died in 1775. He painted many good
copies from the old masters, and also practised as
an engraver.
RENTINCK, Jan, a Dutch painter, born at
Nieuwerbrug, near Bodegraven, in 1789. He was
a pupil of P. C. "Wonder, and of Jan van Ravensz-
waay, and painted chiefly interiors and still-life.
He died in 1846.
RENTON, John, an English portrait and land-
scape painter, who exhibited at the Royal Academy
from 1799 to 1840. He contributed altogether
some forty pictures, one of which was a ' Charles
I. raising his Standard at Nottingham.' In the
year 1840 he sent some intaglios to the exhibition,
after which all trace of him is lost.
RENTZ, Michael Hbineioh, a German painter
and engraver, was born at Niiremberg in 1701,
where he studied under Preisler and Montalegre.
He executed several plates for books, some by
himself, others in conjunction with Montalegre.
He settled in after life at Kukus in Bohemia,
where he had been invited by a Count Spork,
whose portrait he had painted, and where he died
in 1768.
RENTZCH, (Rensch, Rentsch,) Johann Fried-
RICH Jakob, painter, born at Dresden in 1792,
studied under J. Schubert, and became professor
of drawing at the industrial school at Dresden.
His works are well drawn and warm in colour.
The best known are an altar-piece for a votive
chapel, ' Hagar in the Wilderness,' and ' Gretchen
at the DistaS,' the latter engraved by Kilchler.
RENZI, Cesario, an historical painter of little
note, born at San Ginesio in Italy. He was a
pupil of Guido, and practised late in the 17th
century.
REQUENA, Vincente, a Spanish painter of the
16th century, born at Concentayna. In 1590 he
was practising at Valencia. He painted the ' Con-
ception,' and the ' SS. Jerome and Anne,' in the
church of the monastery of San Miguel de los
Reyes. A 'St. Michael' in the convent of San
Domingo has also been attributed to him.
RESANI, Arcangelo, was born at Rome in
1670, and was a scholar of Gio. Battista Bonouore.
He chiefly excelled in painting animals and hunting
scenes. His works were highly esteemed at Siena,
Bologna, and Venice. His portrait, with dead
game in the background, is" in the Florentine
Gallery. He died about 1740.
RESCH, Ernst, painter, born at Dresden in
1808, painted portraits and landscapes, and trained
excellent pupils. He died at Breslau in"1864.
RESCH, Wolfgang, was a German engraver on
wood, who flourished at Niiremberg about 1530.
He executed the woodcuts for ' Ein schoner Dia-
logus, oder Gesprach von zweyen Schwestern,'
1533, a half-length portrait of Jacob Pugger, and
heads in proiile of the Emperors Maximilian I. and
Charles V. His works are described in Bartsch's
' Peintre-Graveur,' vii. 473, and Passavant's
' Peintre-Graveur,' iii. 252.
RESCHI, Pandolfo, born at Dantzic in 1643,
went to Italy when he was young, and became one
of the ablest scholars of Giacomo Borgognone.
He painted battle-pieces with considerable success,
and imitated cleverly the landscapes of Salvator
Rosa. He also excelled in painting perspective
and architectural views, of which there are several
in the collections at Florence. He died in 1699.
RESTALLINO, Carlo, miniature painter, born
at Zornasco (Domo d'Ossola) in 1776, in early life
went to Munich, and there studied engraving
under J. Dorner and M. Klotz. After that he
visited Dresden, Berlin, and Italy. In 1808 he
361
Restlein
A BIOGRAPHICAL DICTIONARY OF
Ketzscli
■was appointed court painter at Munich, and in
1820 teacher to the household of Maximilian Joseph.
There are portraits by him of King Maximilian
and Queen Caroline. He died at Munich in 1864.
RESTLEIN, Georg, painter and engraver, an
obscure German artist, who practised in the 17th
century, and was born at Zwabach, near Nurem-
berg;
RESTOUT, Jean, 'the elder,' painter, bom at
Caen, 1663, the son and pupil of Marc Restout,
and father of the more famous Jean Restout the
younger. He had a fair reputation in his day as
an historical painter, and his wife Catherine, the
sister of Jean Jouvenet, also practised painting.
He died in 1702.
RESTOUT, Jean, 'the younger,' was born at
Rouen in 1692, and studied in Paris under his uncle,
Jouvenet, whose style he followed with considerable
success. He was a member of the Academy of
Paris, and painted for his reception, ' Venus getting
arms from Vulcan for ^neas,' and for his admission
as Fellow, ' Arethusa flying into the arms of Diana
to escape from the pursuit of Alpheus.' In 1733
he was made professor, and in 1760 a director
of the Academy. As a technical artist he was
characterized by a soft, woolly touch, by design in
which there was little nobility, and by drawing in
which there was much mannerism. His colour,
too, was poor. He died in Paris in 1768. His
principal works are :
Dijon. Musie. St. John the Baptist adoring
Christ.
Lille. Musee. Christ on the way to Emmaus.
Nancy. Musee. Portrait of the architect, Bof-
rand (?).
Paris. Louvre. Christ healing the paralytic.
„ „ St. Paul before the High Priest,
Ananias.
" "^^Slfl Ceiling.
RESTOUT, Jean Bernard, painter, the son of
Jean Restout the younger, born in Paris, 1732.
He was the pupil of his father, to whom he was
greatly inferior in talent. He attained, however,
to a respectable proficiency in his art, gained the
' Prix de Rome ' in 1758, and was made an Acade-
mician in 1769. He resigned his membership in
1771, in consequence of certain regulations which
were distasteful to him, and after this time almost
abandoned the practice of his profession. Some
suspicion having fallen upon him in connection
with the affair of the ' Garde-Meuble,' he was
thrown into prison, but the events of the 9th
Thermidor led to his release. He died in Paris
in 1797. There is in Paris a ' St. Bruno ' by him,
and in the Museum at Toulouse a ' Diogenes,' and
a sketch for his reception picture at the Academy,
the ' Philemon and Baucis.'
RESTOUT, Maro, painter, was born at Caen in
1616, and was a pupil of Noel Jouvenet. Plis
father was one Margu^rin Restout. He visited
Rome in company with Poussin, and acquired a
certain reputation in that city and in Holland. He
was the first of the Restout family of artists ; several
of his ten children became painters. He died at
Caen in 1684. Amongst his sons were : Eustaohe,
born at Caen, 1665. He became Premonstrant of
the abbey of Mondaye, practised decorative paint-
ing, executed some fine ceilings, and died in 1743.
Jacques, born before 1655. He was a pupil of Letel-
lier de Vernon, and became prior of the abbey of
Moncel, near Vitry. He was a painter and a writer.
Jean (the elder), q. v. Charles, the fifth son,
362
born at Caen in 1668, became a Benedictine monk.
He was a good preacher, and painted ceilings and
pictures for churches. Thomas, born at Caen, 1671,
visited Rome and Holland to study his art, and
practised portrait painting. He died at Caen in
1754.
RETHEL, Alfred, bom at Aix-la-Chapelle,
May 15, 1816. His precocious talent displayed
itself in drawings made in his childhood, and at
the age of thirteen he went to study at Diissel-
dorf. There he astonished his masters and fellow-
pupils by the vigour of his invention, especially on
the occasion of the gala reception given to Schadow
on his return to Diisseldorf. Afterwards, in 1837,
beiug dissatisfied with the poverty of the technical
system there taught, he migrated to Frankfort,
where he came under the influence of Schwind,
Passavant, and, above all, of Philip Veit. At
Frankfort he painted his ' Daniel,' his ' Justitia,'
and three emperor pictures for the Romersaal
(Philip of Swabia, Maximilian I. and II., and
Charles V.), besides making the cartoon for his
' Resurrection.' In 1841 his pryef gained the
prize in the competition for the decoration of the
' Kaisersaal' at Aix-la-Chapelle. It was a series of
ambitious designs of much merit, representing in-
cidents in the career of Charlemagne. After pre-
paring himself by a two years' sojourn in Italy for
their execution, he completed four pictures of the
series, when his health failed, and he was obliged
to relinquish the work. It was finally completed
by Kehren. Whilst engaged on his frescoes at Aix-
Ia-Chapelle,Rethel also made some bizarre drawings
for a 'Dance of Death,' to which Reiniok wrote
verses. Another fantastic composition was a set
of water-colour drawings illustrative of Hannibal's
passage of the Alps. In 1848 Rethel went to
Dresden, where he remained a few years. In 1852
he made a second pilgrimage to Italy, where l.e
began to show symptoms of mental disorder.
After his return to Dresden his malady made rapid
progress, and he ended his days in an asylum at
Diisseldorf, where he died, December 1, 1859.
Among his works we may name :
Procession of the Longobards.
Charles Martel's Castle.
Justitia.
' Rudolf of Hapsburg.
The Swiss in prayer before the Battle of Sempach.
St. Boniface. [National Gallery, Berlin.)
Daniel in the Lion's Den. (Frankfort, Stddel Museum.)
Nemesis.
Peter and John healing the lame man. [Leipsig Museum)
Joshua crossing the Jordan.
The Crowning of Sophocles.
The Burial of Frauenlob.
And a set of Illustrations for Luther's Hymn, ' Ein'
feste Burg.'
Five of the cartoons for the Charlemagne series
are in the Berlin National Gallery, also the cartoon
for the altar-piece, ' The Resurrection,' in the
Nicolaikirche at Frankfort. Rethel also etched,
and drew much on the wood. He wished to breathe
new life into the latter art, on the lines followed
by Diirer.
RETZSCH, August, brother of Moritz Retzsch,
born in 1777, was a pupil of Klengel, and painted
winter landscapes. He died in 1835.
RETZSCH, Fribdrich August Moritz, a German
draughtsman and painter, born at Dresden, Decem-
ber 9, 1779. He studied in the Dresden Academj',
which he entered in 1798, and of which he was
elected a member in 1816, and professor in 1824.
It was not till he was about twenty years of age
B.eater
PAINTERS AND ENGRAVERS.
Eeverdino
that he applied himself seriously to the study of
painting ; for though he had previously some skill
as a designer, he disliked all restraint, and would
have preferred following the bent of his genius as
a haunter of the forests, and as a student of nature
in solitude. His fame does not rest on his work
with the brush, but on his illustrations to the
German poets and to Shakespeare, which he inter-
preted with extraordinary vigour and sympathy.
As a portrait painter he was successful, especially
with his likenesses ; one of his best is a portrait of
King Friedrich August of Saxony. The Dresden
Gallery possesses a portrait of a lady by him.
Eetzsoh died at Hoflossnitz, near Dresden, June 11,
1867. His principal engraved works are :
Twenty-six illustrations to Goetlie's ' Faust.' (1828.)
Sixteen „ „ Schiller's ' Fight with the
Dragon.'
Eight „ „ „ 'Fridolin.'
Forty-three „ „ „ ' Song of the Bell.'
Eighteen „ „ „ 'Pegasus in Har-
ness.'
Eighty „ „ Shakespeare. 1827—1846.
Fifteen ,, „ Biirger'e Ballads.
Eight ' Fantasien und Wahrheiten.'
The Chess-player.
The Goblet.
Faust and Margaret. {Two lithographs.)
BEUTER. See Eeiteb, also Redeb.
EEDTERN, Geehaed Gheistophobowitsch von,
painter and etcher, bom at Rosthof in Livonia in
1791. He entered the Alexander regiment of
Hussars, and at Leipsio in 1813 lost his right arm.
He had made his first essay in drawing in 1814,
while in 1817 he studied in Berliu, in 1819 in
Heidelberg, in 1821 in Dorpat. In 1827 he devoted
himself entirely to art, and painted in water-colours
scenes of Hessian peasant life. In 1834 he went
to Diisseldorf, where he studied under Schadow
and Hildebrand. Afterwards he painted historical
scenes, landscapes, and genre pictures, and in 1835
became Russian court painter. He died at Prank-
fort (where he had settled in 1844) in 1865. His
principal works are :
The Sacrifice of Isaac. (In the Hermitage at St. Peters-
bvrg.)
St. George.
A Madonna.
Three Singers. {Palace of Tsarskoe-Selo.)
Girl Knitting.
The Infant School.
Family Devotion. (In the collection of the Empress of
Gei'many.)
He also etched eleven plates, mostly of animals.
REUTLIMANN, Euidiman, (or Reuttiman,)
JoHANN OoNEAD, is mentioned by Strutt as the
engraver of some plates of foliage, and other orna-
mental designs, published at Augsburg ; he was a
goldsmith, and lived in the first half of the 17th
century.
REUVEN, PiBTEE, bom at Leyden in 1650,
studied at Antwerp in the school of Jacob Jordaens.
He painted history and allegorical subjects, and
was employed to design the triumphal arches for
the reception of William III. at the Hague, by
which he acquired some celebrity ; and he was after-
wards engaged to ornament some of the principal
apartments in the palace at Loo, in which he
showed a fertile invention, and great facility of
execution. One of his best productions was a
ceiling in the hotel of M. de La Court Vandervoort,
at Leydsn ; it is an ingenious composition, and
the colouring possesses much of the brilliancy
which is found in the productions of the best
painters of the Flemish school. He died in 1716.
REUVER, Theodoeb de, born at Utrecht in
1761, imitated the old masters and painted land-
scapes. He died in 1808.
_ REUWICH, Eehabd, a painter of Utrecht, prac-
tising in the 16th century, and known only as
having accompanied Breydenbach on his travels
from 1474 to 1483, and having executed all the
designs in illustration of the various editions of the
narrative published by the latter.
RlfeVBIL, fii'iENNE AcHiLLB, a French engraver
and draughtsman, born in Paris in 1800, was a pupil
of Gros, Girodet-Trioaon, and Abel de Pujol. He
made drawings from many famous pictures and
statftes, and engraved them in outline for various
publications. Examples of his work are to be
found in the 'Mus^e de Peinture et de Sculpture,'
the ' Galerie des Arts et de I'Histoire,' and the
' Mus^e de Versailles.' He also engraved in outline
the works of Ingres, published by Didot.
REVEL, Alfred, a French engraver, was a
native of Paris, and exhibited at the Salon from
1831 to 1852. He died in 1865. He was largely
employed upon vignettes for books, but also en-
graved the following plates :
Paul Potter sketching from Nature in the environs of
the Hague ; after Le Poittevin.
The Broken Pitcher ; after Oreuze.
Sfe. Catharine ; after Ch. Landelle.
REVEL, Qabeiel, painter, born at Chateau-
Thierry, 1643, was a pupil of Charles Le Brun,
and an artist of some reputation in his day. He
became a member of the Academy in 1683. He
assisted in the decoration of Versailles, and finally
settled at Dijon, where he died 1712, and where
are to be found the following :
Portrait of Pierre Lenet, procureur g^nSral du Parle-
ment de Dijon. 1641.
Portrait of Jean Dubois, the sculptor of Dijon.
His son Jean, born in Paris, 1684, was a skilful
designer of patterns for the silk-manufacture, and
died at Lyons 1751.
EEVELLO, Giovanni Battista, called II Mus-
TACCHi, a Genoese painter, born in 1672, studied
under Antonio Haffiner, and formed a close friend-
ship with Francesco Costa. For twenty years these
two in concert executed landscape and other ac-
cessories for historical painters. Their master-
piece is said to be at Pegli in the Palazzo Grillo,
consisting of the decorations of a set of rooms.
He died in 1732.
EEVERDINO, Cbsaee, was an Italian engraver,
who flourished from 1531 to 1564. His figures
are very indiSerently drawn, and his plates have
little to recommend them, except their neatness.
He sometimes marked his plates with the mono-
gram \^?- The following prints by him are
apparently from his own designs :
Moses striking the Eock. 1531.
The Wise Men's Offering.
A small Frieze, representing a Bacchanalian subject.
1564.
Venus coming to Vulcan for the arms of .fflneas.
Those that are marked with his name in full,
and are undoubtedly his work, are in a style
between that of Giulio Bonasone and Agostino
Veneziano, and seem to prove that he was of the
school of Marc-Antonio. A descriptive catalogue
of his engravings will be found in Passavant's
' Peintre-Graveur,' vi. 107—117.
363
Revest
A BIOGRAPHICAL DICTIONARY OP
Reynolds
REVEST, CoENi^LiE Louise, painter of genre
pictures and of portraits, born at Amsterdam, 1795,
studied in Paris under S&angely and VafSard.
By her :
Magdalen at the feet of Christ. {In the Marseilles
OalUry.)
The Toilet of Psyche.
REVETT, Nicholas, an architect and painter,
born in Suffolk in 1721, went in 1742 to Italy,
and studied under Benefial in Rome. While he
was there practising as a painter he formed a
ffiendship with 'Athenian' Stuart, and in 1748
went to Naples and Greece to study Greek monu-
ments. He arrived at Athens in 1751, and was
there till 1754, but on going to other parts of
Greece he was seized by corsairs, to whom he
paid a ransom of six hundred dollars for his re-
lease. He then continued his researches, but under
great difSoulties, till 1755, when he returned to
London. In 1764 he visited Ionia with Dr. Chand-
ler and William Pars, A.R.A., where he remained
for two years. He published the fruits of his travels
under the headings of ' The Antiquities of Athens,'
and 'Ionian Antiquities.' He also published a
work entitled ' Baalbec and Palmyra.' He died in
London in 1804.
REVOIL, PiEKEB Henbi, a French historical
and subject painter, born at Lyons in 1776. He
came to Paris and studied under David. His
works first appeared at the Salon in 1804. In
early life he was content to shine in his native
province. He returned to his native city in 1809,
as professor of painting in the Royal Academy of
Lyons. He belonged to the school which formed
the transition between the Classicism of David
and the Romanticism of the fourth decade of the
century. The cross of the Legion of Honour was
awarded to him in 1814, and he was elected a
correspondent of the Institute in 1825. His works
are bold but mannered, and frequently over-
weighted by the accessories. He died in Paris in
1842. The following are some of his pictures :
Aix. Musewn. Release of Christian Captives.
Fontainebleau. „ Jeanne d'Albret. 1819.
Lyons. Museum. The Tournament. 1812.
Versailles. Palace. Philip Augustus raising the
Oriflamme.
„ „ Tanored at Bethlehem. 1840.
The Chevalier Bayard at Brescia.
Mary Stuart led to Execution.
Francis I. arming his grandson Francis II.
Louis XII. at Plessis-les-Tours.
REWICH. See Redwich.
RBXMON. See Raymond.
REV, Etienne, landscape painter, born at Lyons,
1789. was a pupil of Pillement and of Cogel. He
died in 1867. By him :
Bains of a Soman Portico.
REYERS, Nicolas, painter, born at Leyden,
1719. An artist of little note, who was a pupil
of Jerome Van der My, and painted portraits and
genre pictures.
REYHER, RoBBET, an engraver, born in Berlin,
in 1838, entered the Academy in that city, and
studied under Mandel. He engraved portraits of
Beethoven, Goethe, Liszt, Chopin, Schiller, Raphael,
and Gary. His best works are, Maria Manoini,
after Mignard ; and the Countess Potooka, after
Tonci. He died in 1877, through falling into the
Havel.
EEYN, Jan db. See De Reyn.
364
EEYNA, ITrancibco de, painter, a native of
Seville, was a disciple of Francisco de Herrera,
the elder. He had given proof of most promising
talents, in a picture of the ' Souls in Purgatory,' in
the church of All Saints, at Seville, when he died,
in the bloom of life, in 1659.
REYNELL, Thomas, (Rennell,) portrait painter,
born near Chudleigh in Devonshire, in 1718, was
educated at the Exeter Grammar School, but was
afterwards sent to London, where he became a
pupil of Hudson. He then returned to Exeter,
where he settled as a painter. The Duke of King-
ston offered him assistance to go to London again,
but he refused. He painted portraits, and was a
musician ; but his habits were so idle and improvi-
dent that he fell very low in the world. He lived
at Dartmouth in a state, of the most abject poverty
till an asylum was provided for him by the kindness
of a friend. He died at Dartmouth in 1788.
REYNOLDS, Frances, the sister of Sir Joshua
Reynolds, whose house she kept for many years in
Leicester Fields, was bom at Plympton in 1729.
She practised as a miniaturist, and made many copies
of her brother's pictures. Frequent mention is
made of her in the literary and artistic history
of the time. On her brother's death she took a
large house in Queen Square, Westminster, where
she exhibited her own works, and where she died
in 1807.
REYNOLDS, Sir Joshua, was born at Plympton,
near Plymouth, on July 16, 1723. His father,
Samuel Reynolds, was the master of Plympton
Grammar School, and intended his son for the
medical profession ; but at a very early age the
child was attracted to the study of art, and- it is -^
said that before his eighth birthday he had mastered
the rules of perspective from the Jesuit's ' Perspec-
tive,' and had produced a correct drawing of a
colonnade under his school-house ; this was quickly
followed up by an attempt at portrait painting.
His first work, on the canvas of an old boat-sail,
was the portrait of a tutor in the family of the
Earl of.Mount Edgcumbe, and is still in existence.
Ultimately — after some difficulty in raising the
required premium — his father sent him in October
1740 to London, to Hudson, then the first portrait
painter in England. Hudson was, however, in-
competent to develop the genius of Reynolds;
and the apprenticeship, which was to have con-
tinued four years, was abruptly closed at the end
of two. Reynolds then returned to Devonshire,
and for a time was very fully employed in paint-
ing portraits in the Plymouth district. When
he had exhausted the neighbourhood, he returned,
in 1744, to London, armed with an introduction,
obtained through Hudson, to the Artists' Club. At
Christmas in 1746 Reynolds was recalled to Ply-
mouth by the death of his father, who expired on
Christmas Day. This broke up the home at
Plympton, and the young painter took a house in
• Plymouth Dock for himself and two of his sisters,
and there made the acquaintance of William Gandy,
under whose influence he greatly modified his style
of painting. A portrait of himself in the National
Portrait Gallery illustrates this period of his art.
During the years 1747 and 1748 Reynolds appears
to have maintained himself and his sisters by his
portrait painting; he also studied landscape, and
visited occasionally at the house of the Earl of
Mount Edgcumbe. There he was so fortunate as
to acquire the friendship of Admiral Keppel, who
had been appointed to llie command of the Medi-
Reynolds
PAINTERS AND ENGEAVEES.
Reynolds
terranean squadron, and had put into Plymouth for
repairs. He offered to take Reynolds to Italy in
his own ship, the ' Centurion,' and his oflter being
gratefully accepted, Eeynolds set out in May,
1749.
During the campaign of Algiers, Eeynolds, who
found friends wherever he went, was landed in the
island of Minorca, and remained there as the guest
of the English governor. General Blakeney, painting
the portraits of all the leading men of the station.
From Minorca he finally sailed to Leghorn, and
thence to Rome. Here he spent two years in
study and in the occasional copying of pictures.
He does not appear to have done much original
work. His Italian note-books, which have been
preserved, display the growth of his critical facul-
ties, and account for much that is to be found in
his famous discourses. During his studies in the
Vatican he caught a cold from which the deafness
arose which afflicted the remainder of his life. In
April 1762 he left Rome, and after spending four
months in visiting Florence, Venice, and other
cities, and three months in Devonshire on his
arrival home, he settled down once more in London
as a portrait painter. Assisted by the patronage of
Lord Mount Edgoumbe and welcomed by Hudson,
he became immediately popular. His portraits of
the beautiful Miss Gunnings and of Admiral Keppel
secured his position from the first, and his career
henceforward was one of uninterrupted enjoyment
and success. He possessed a wider circle of friends
eminent by rank or talents than any contemporary.
His friendship with Edmund Burke, Dr. Johnson,
Goldsmith, Garrick, Hogarth, and others, was con-
solidated by the formation of The Club, of which
Eeynolds was the president, and which included
among its thirty-five members, at the date of
Eeynolds' death. Fox and Windham, Malone and
Steevens, Boswell and Sheridan, Bishop Percy
and Dr. Burney.
The Society of Artists opened its first exhibition
of pictures in 1760, and Eeynolds became a
regular contributor to its shows ; but in 1768 the
Royal Academy was founded, on 10th December,
with him as its first President. In the following
year the President was knighted. The annual
Academy dinners, and the custom of an annual
address from the President, were instituted by
Eeynolds. Among his portraits of this period,
those of ladies are commonly in some mythological
disguise, or have an allegorical intention in design.
His portraits of Dr. Johnson, Goldsmith, Garrick,
Sterne, Sheridan, and other men of distinction are
more simple. His classical works won the same
popular admiration as his simple character studies,
and, although his name is less connected with
them by posterity, such pieces as the ' Ugolino,'
the ' Nativity,' the ' Infant Jupiter,' and the ' Car-
dinal Beaufort,' augmented his fame as much as
his portraits, or such studies of children as the
'Strawberry Girl,' 'Musoipula,' 'Boy with the
Cabbage Nets,' 'Master Crewe,' &c. The only
important rivals to Sir Joshua Eeynolds were Gains-
borough and Eomney. In 1773 Eeynolds was elected
mayor of his native town, and sent his portrait to
hang between two of his pictures of which the cor-
poration had become possessed years before. In
this portrait he appears in his D.C.L. robes, for at the
Enccenia of this same year he had been honoured
with that degree by the University of Oxford. In
1777 Eeynolds was again in the neighbourhood of
Oxford, at Blenheim, to paint the great Marlborough
family pictures, and in 1779 he was occupied with
the designs for the windows in New College. In
1780 took place the first exhibition of the Eoyal
Academy in their rooms at Somerset House. To
it Sir Joshua's chief contribution was the famous
portrait of the three ladies Waldegrave. In 1781
Eeynolds made the tour of the Netherlands, and
the notes that were published after his death con-
tain interesting records of his judgment on the
great masters of the 17th century. Two years
later, in 1783, Eeynolds paid a second visit to the
Low Countries.
It was in 1784 that he painted Mrs. Siddons as
the Tragic Muse, now in the Dulwich Gallery, which
with the ' Garrick between Tragedy and Comedy,'
and the ' Mrs. Abington as the Comic Muse','
make a fine triad of theatrical portraits. The
work that Eeynolds is said to have taken more
pains with than he ever did with any other, is
the ' Infant Hercules,' painted for the Empress
Catherine, and now in the Hermitage. It was
exhibited in 1788 with sixteen other pictures from
the President's brush. In 1790 occurred his dis-
agreement with the majority of the Academy, over
the election of Bonomi as associate and professor
of painting, which resulted in his tender and sub-
sequent withdrawal of his resignation. In Decem-
ber the same year he delivered the fifteenth and
last of his famous discourses, and a few months
later an afEection of the eyesight came to a crisis
which resulted in his becoming almost totally blind.
He lost his spirits, and again tendered his resign-
ation of the P.R.A.-ship. This was again refused,
and West was appointed Deputy President, to
relieve Reynolds of the duties he was no longer
able to perform. But in spite of this the break-up
of his health went on apace, and on February 23,
1792, he died.
Sir Joshua was buried in St. Paul's, close by the
tomb of Sir Christopher "Wren. He left the whole
of his property, after certain legacies had been
paid, to his niece, Miss Palmer, afterwards the
Marchioness of Thomond. The value of her
inheritance has been estimated at £100,000.
The following includes most of Reynolds's best
known and more accessible works :
Oopeuhagen. Christian- > portrait of a Man.
bora. '
Dublin. 2Vat. Gallery.
Dulwich.
Edinburgh. Nat. Gal.
Glasgow.
Liverpool. Walker Gal
London. Nat. Gallery.
Portrait of Lord Mount Edg-
cumbe.
Sketch of a Knight in Armour.
Mother and Sick Child.
Sketch for the Death of Car-
dinal Beaufort.
The Prophet Samuel.
Mrs. Siddons as the Tragic
Muse. (Eeplieaofthe^yicture
at Grosvenor House.)
Portrait of himself.
■Unfinished portrait of Edmund
Burke.
„ Portrait of Sir David Lindsay.
„ Portraits of Sir Thomas Miller
of Barskimming and his wife.
{Deposited on loan.)
Gallery. Death of Cleopatra.
Sketch for 'Miss Linley as
St. Cecilia.'
„ Two Male portraits.
Two Female portraits.
Portrait of Mrs. Bower.
The Holy Family.
The Graces decorating a Term
of Hymen.
A Man's Head in profile.
The Banished Lord.
365
Reynolds
A BIOGRAPHICAL DICTIONARY OF
Reynolds
London. Nat. Gallery. Portrait of Lord Heathfield.
„ „ Portrait of Lord Ligonier.
,, „ Tlie Infant Samuel.
„ „ Angels' Heads. {Studies from
Frances Isabella, daughtei' of
Lord William Gordon.)
„ „ Portrait of Sir Abraham
Hume, Bart.
„ „ The Age of Innocence.
„ „ Portrait of Captain Orme.
„ „ Portraits of Two Gentlemen.
„ „ The Snake in the Grass. {Feel
Collection. )
„ „ Portrait of Admiral Keppel.
„ „ „ Dr. Johnson. {Do.)
Boswell. {Do.)
„ „ „ George IV. as
Prince of "Wales.
{Do.)
„ „ „ A Lady. {Do.)
„ ,. Eobinetta. {Do.)
„ „ Portrait of himself. {Do.)
„ „ Portrait of himself . {Deposited
by the Dilettante Society.)
„ „ Two Portrait Groups of Mem-
bers of the Dilettante So-
ciety. {Do.)
„ Portrait of himself.
1 1 Portrait of Lord Ashburton.
National Foi'trait
Gallery.
South Kensincj-
ton Museum.
Soane Museum.
„ Fjoyal AcadeMy,
„ City Gallery.
„ Buckingham Fal.
„ Grosvenor Rouse.
„ Montague House.
„ Devonshire House.
Holland House.
366
J „ Lord Bath.
„ Sir "W". Blacbstone.
., Admiral Boscawen.
„ Lord Camden.
„ Sir "W. Chambers.
„ Duke of Cumber-
land.
„ Admiral Keppel.
„ Lord Lansdowne.
„ Edmund Burke.
„ Sir W. Hamilton.
„ W. Windham.
„ Edmund Malone.
„ Himself.
) Portrait of Mrs. Thomas "Whet-
j ham. 1757.
The Snake in the Grass. {Re-
plica from tile collection of
Lady Thomond.)
Portrait of himself.
„ Sir W. Chambers.
Theory. {Fainted sketch for
ceiling in Eoyal Academy's
old room, Somerset House.)
Portrait of Giuseppe Marchi.
„ Francis Hayman.
„ George III. and
Queen Charlotte.
Portrait of Lord Camden.
„ Thomas Tomkins.
Cymou and Iphigenia.
Death of Dido.
Mrs. Siddons as the Tragic
Muse.
Portrait group of a Mother and
ChUd.
Portrait of Elizabeth, Duchess
of Buccleuch.
Portrait of the fourth Duke
Buccleuch.
Portrait of Georgiana, Duchess
of Devonshire.
Portrait of Lord Biohard
Cavendish.
Portrait of the Duke of Cum-
berland.
A Group of Satirical Portraits,
Portrait of Margaret Geor-
giana, Countess Spencer.
Lady Betty Forster, afterwards
Duchess of Devonshire.
Muscipula.
Portrait of Joseph Baretti.
Portrait of Lady Caroline Fox,
afterwards Lady Holland.
liouse.
Spencer House.
Stafford House.
Oxford. Unii>. Gallery.
London. Bndciewater \ ^ p^mily Portrait.
Portrait of Lady Bayham,
afterwards Lady Camden.
Portrait of Lavinia Bingham,
Lady Spencer, and her son.
Portrait of the second Earl
Spencer, in his seventeenth
year.
Lord Althorp, at the age of
four.
Richard Burke.
Lady Anne Bingham.
Lavinia Bingham, when Lady
Althorp.
Margaret Georgiana, Lady
Spencer, and her daughter,
Georgiana.
■William, fifth Duke of Devon-
shire.
Hope nursing Love.
Portrait of Lawrence Sterne.
„ Sleeping GirL
Hertford House \ Miss Bowles.
{Sir li. Wallace). J Mrs. Braddyl.
„ Mrs. Eobinson (' Perdita ').
„ Nelly O'Brien.
„ The Strawberry Girl.
{Replicas in the possession of
Lord Lansdovme and Colonel
Copley Wray.)
Charity. {Study for the New
College Window?)
Sketch portrait of Admiral
Keppel.
Portrait of the Eev. Joseph
"Warton.
Portrait of Mrs. Meyrick.
Portrait of James Paine, archi-
tect, and his son.
Study of a Head. {Fainted
from White, the paviaur, who
sat for the tXgolino.)
The Snake in the Grass.
Hercules strangling the Ser-
pents.
„ „ The Continence of Scipio.
John, third Earl of Bute, and his Secretary, W. Jenkin-
son, afterwards Lord Liverpool. (Marquis of Bute's
Collection.)
Another portrait of the third Lord Bute. (2)o.)
Mary "Wortley Montague, Countess of Bute. [Do.)
Mrs. Abington in the character of ' Miss Prue.' {Lord
Hillingdon.)
Mrs. Pelham feeding Chickens. {Earl of Yarboronigh.)
Mrs. Nesbitt as ' Circe.' {Dow. Lady Stanley of Aider-
ley.)
Miss Theophila (Offie) Palmer. {E. W. Currie, Esq.)
The Three Sisters "Waldegrave.
Nymph and Boy. {Dow. Lady Castletown of Vpper-
Ossory.)
Anthony Chamier, M.P. for Tamworth, one of the
original members of The Club. (A. W. MacDougall,
Esq.)
Lord Henry and Lady Charlotte Spencer (The Young
Fortune-TeUers.) {Duke of Marlborough.)
Group of the Marlborough Family. {Do?)
Crossing the Brook (Miss Cholmondeley, afterwards
• Lady Bellingham). {Mrs. Buchanan Eiddell.)
The Infant Academy. {L,ord Mount Temple.)
Girl and Dog (Hou. Frances Harris, afterwards Lady
Frances Cole). {Earl of Darnley.)
The Calling of Samuel. {Do.)
Felina. {Earl of Feversham.)
The Hon. Mrs. Seymour Darner. {Earl of Fortarling-
ton.)
Mrs. (' Perdita ') Eobinson. (Earl Granville.)
■Warren Hastings. {Lord Northwick.)
James, thirteenth Earl of ErroU. {Earl ofEiroll.)
Mrs. Thrale and her Daughter. {Dow. Lady Ash-
bzirton.)
Maria 'Walpole, Duchess of Gloucester. {Earl of
Waldegrave.)
Mrs. Hartley and her Child. {Earl of Northhrook)
David Garrick as Kitely. {Louis Huth, Esq.)
Petersburg. Hermitage,
Reynolds
PAINTERS AND ENGRAVERS.
Keynolds
Lady Gertrude Fitz-Patrick ' La Collina.' {JDow. Lady
Castletown of Up^er-Ossmy.)
The second Marquis of Eockingham. {Earl of Hard-
loicke.)
Angelica KaufEman, E.A. {B. Fa^on Watson, Esq.)
The Gleaners, ' Macklin Family picture.' {Rolert Gos-
ling, Esq.)
"William Beckford, Esq., M.P. {Duke of Hamilton:)
Elizabeth Gunning, Duchess successively of Hamilton
and Argyle. (JDo.)
Lord Mayor Beckford. {Do.)
The second Marquis of Rockingham and Edmund
Burke, his secretary; unfinished. (&>■ Frtderick
Leighton, Bart., P.R.A.)
Portrait of the Eev. Zachariah Mudge. {Mrs. Gwathin. )
Lady Cookbum and her Children.
Master Crewe.
Mrs. Payne Gallwey.
Oliver Goldsmith.
Garrick between Tragedy and Comedy.
Studies for New College Window. (Lord Iformanton.)
Omai, the Otaheitan. (Earl of Carlisle.)
Girl with a Muff. (Marquis of Zansdowtie.)
Hope nursing Love. (Do.)
Mrs. Sheridan as St. Cecilia. [Do.)
Ugolino and his Sous in the Tower.
The Death of Cardinal Beaufort. (Earl of Leconjield.)
Master Yorke.
Mrs. Baldwin.
Miss Penelope Boothby.
The Masters Gawler.
Puck. (Fainted for the Bm/ddl Gallery^)
Nymph and Piping Shepherd. ( W. C. Quilter, Esq.)
In the winter of 1883-4 an exhibition of 231
pictures by Sir Joshua was held at the Grosvenor
Gallery, at which most of the more notable pictures
in this list were hung.
About seven hundred plates have been engraved
after Reynolds, by McArdell, J. R. Smith, Valentine
Green, J. Watson, T. Watson, E. Fisher, J. Dixon,
R. Houston, W. Dickenson, J. Jones, G. Marchi,
Sharp, Doughty, Haward, Sherwin, and Samuel
Cousins.
BIBLIOGRAPHY.
' The Life of Sir Joshua Reynolds ; ' by James North-
cote. 2 vols. 8vo. 1818.
' Memoir of Sir Joshua Reynolds ; ' by J. Farington.
8vo. 1819.
' Life and Times of Sir Joshua Reynolds ; ' by C. R.
Leslie and Tom Taylor. 2 vols. 8vo. 1865.
' The Vorks of Sir Joshua Reynolds, &c. ; ' edited, &c.
by Edmond Malone, with a Memoir. 3 vols. 8vo.
1801.
' The Literary Works of Sir J. Reynolds ; ' edited, &c. by
Henry William Beeohy, with a Memoir. 2 vols. 8vo.
1852.
' The Graphic Works of Sir J. Reynolds ; ' by S. W.
Reynolds. 4 vols. fol. 1820-38. Combination of
do. 1864, et seq.
' A Catalogue of the Portraits painted by Sir Joshua
Reynolds ; ' by William Cotton. 8vo. 1857.
' Life and Times of Sir J. Reynolds ; ' ' Quarterly Re-
view,' Nos. 238 and 239 (April and May, 1866).
' Reynolds and the Portrait Painters of the last century.'
' Blackwood's Magazine,' No. 625 (November, 1867).
' Some account of the ancient Borough Town of Plymp-
ton St. Maurice ; ' by W. Cotton. 8vo. 18.59.
' English Children as painted by Sir Joshua Reynolds ; '
by F. 6. Stephens. 4to. 1866.
' A Descriptive Catalogue of all the Prints, &c., after
Sir J. B. ; ' by B. Wheatley.
'The Artistic Development of Reynolds and Gains-
borough ; ' by W. M. Conway (London, 1886).
REYNOLDS, Samuel William, an engraver in
mezzotint, was descended from a family who
possessed property in the West Indies, and was
bom in London in 1773. He studied in the schools
of the Academy, and was a pupil of Charles
Howard Hodges. His works are very numerous
in portraits", and in historical and fancy subjects,
chiefly after pictures by modem painters. He
engraved, on a reduced scale, upwards of three
hundred portraits and compositions by Sir Joshua
Reynolds, which were published in three folio
volumes. He also engraved many portraits cf
distinguished persons, after Dance, Northcote,
Jackson, Edridge, Owen, Dawe, and Phillips.
The best of these are Reginald Heber, Bishop of
Calcutta, and other prelates of the English Church,
after Owen ; and Lady Georgiana Agar Ellis,
after Jackson, which was intended as a pendant
to the 'Chapeau de Poil,' also engraved by him
after the picture by Rubens in the National
Gallery. In 1826 he went to Paris, and during
his stay there he engraved several plates after
Horace Vernet, G^ricault, Delaroche, and Dubufe.
Reynolds was also a skilful draughtsman of land-
scape, and made numerous sketches in oil ; of
these there is a good example at South Kensington.
He also gave lessons in drawing to the daughters
of George III. The distinguished engraver, Samuel
Cousins, was one of his pupils. He died in
London in 1836. His second daughter, Eliza-
beth, who married William Walker, the engraver,
was a good painter of miniatures. The following
are his chief plates :
Jacob's Dream ; after Salvator Rosa.
Lot and his Daughters ; after A. van der Werff.
The Judgment of Korah, Dathan, and Abiram ; after
Maria Gosway.
The Preservation of Shadrach, Meshach, and Abednego;
after the same.
The Massacre of the Innocents ; after Leon Goignet,
The Crucifixion ; after Frud'hon.
Cymon and Iphigenia ; after Sir Joshua Reynolds.
The Death of Dido ; after the same.
Filippo Lippi enamoured of the Nun his Model ; after
Delaroche.
Raphael and the Fomarina; after Sehastiano del
' Fiomho.
Joan of Arc, in prison ; after Delaroche.
The Four Martyrs — Cranmer, Latimer, Ridley, and
Bradford ; after Herbert.
The Nun before the Judges of the Inquisition ; after
Forhin.
The Finding of the Body of Tippoo Sultan ; after Sir
B. K. Porter.
The Escape of Count de La Valette; after Horace
Vernet.
Napoleon at St. Helena ; after the same.
Mazeppa ; after the same.
The Wreck of the Medusa ; after Giricault.
Ann Page and Slender ; after Dubufe.
Don Quixote ; after Fonington.
The Grandmother ; after the same.
Children surprised by a Storm ; after Delaroche.
The Furze Cutter ; afier J. Barmy.
The Saltarello in Rome ; after Mme. Haudeiourt-Lescot.
The Visit of the Poor Relations ; after Stephanoff.
The Sisters ; after Robertson.
The Five Senses, five plates ; after Dubufe.
Lion and Snake ; Vulture and Lamb, two plates ; after
^N'orthcote.
The Fisherman's Dog ; after Moreland.
The Setters ; after the same.
POETEAITa
George III., profile.
George IV.
Princess of Wales and Princess Charlotte ; after Mana
Gosway.
Leopold I., King of the Belgians ; after Dawe.
Maria II. da Gloria, Queen of Portugal ; after Fowler.
Earl Howe, full-length ; after Singleton.
Admiral Lord Keith ; after Danloux.
Eight Hon. WiUiam Pitt ; after Sir Thomas Lawrence.
Eight Hon. William Dundas ; after Hoppner.
Eight Hon. WiUiam Windham ; after the same.
James Watt ; from a bust by Sir Francis Chantrey.
Captain Forbes ; after Northcote.
George Dance, E.A. ; after Sir Joshua Reynolds.
367
Bejruosa
A BIOGRAPHICAL DICTIONARY OF
Kibalta
Thomas Girtin, water-oolonr painter; after Opie.
John OpiCj R.A. ; after the same.
Charles Smith, painter to the Great Mogul.
Pierre Jean de B6ranger, poet ; after Ary Scheffer.
Mile. Sontag, in ' Der Freischiitz ' ; after Gosse.
Miss Stephens as Susanna, in ' Le Nozze di Figaro ' ;
after the same.
EEYNOSA, Antonio Garcia. See Garcia Ret-
NOSA.
EEYNOUART, EDonAED, a French landscape
painter, born at Lille in 1802. He was a pupil
of LiSnard and Souclion. In 1842 he was appointed
Director of the Lille Museum, in the administration
of which he displayed great ability. He was
an officer of the Legion of Honour. His works
appeared but seldom at the Salon. He died at
Lille, from the results of an accident, in 1879.
KEYS, Jenny Augustine (nee Allais), bom
in Paris, 1798, a pupil of her mother and of Van
Spaendonck, practised fruit and flower painting.
RE YSSCHOOT, Anne Maeie van, born at Ghent,
1758, the daughter of Emmanuel Reysschoot, and
pupil of her brother Pieter Norbert. She married
Egide Deginant, and practised to a very advanced
age, painting genre pictures and bas-reliefs.
REYSSCHOOT, Emmanuel Pietee van, painter,
born at Ghent, 1713. In 1739 he became a member
of the Corporation of Painters, and on the occasion
of the sixth jubilee of St. Bernard, celebrated at
the Abbey of Bandeloo, near Ghent, in 1753, he
painted fourteen large pictures representing Christ,
the Virgin, and the Twelve Apostles. He died in
1772.
REYSSCHOOT, F. van, a Dutch engraver of the
18th century, was probably related to the artists
of the same name at Ghent. He engraved some
Buiall prints after Teniers, which are executed in
a very neat and spirited manner.
REYSSCHOOT, Pietee Jan van, the brother of
Emmanuel Reysschoot, was bom at Ghent. He
painted portraits and historical pictures, and visited
England, where he remained for some time, from
wliich circumstance he was known at home as
'The Englishman.' At Ghent, in the Augustine
church, there are twelve 'Apostles' by him. He
died at Ghent in 1772.
REYSSCHOOT, Pietee Noebeet van, painter,
son of Emmanuel Pieter Reysschoot, born at Ghent,
1738, the pupil of his father and of his uncle, and
first professor of perspective and architecture at
the Academy at Ghent in 1770. Throughout East
Flanders works by him are to be found in various
churches and convents. In the church of St.
Bavon, at Ghent, there are eleven paintings by
him in imitation of bas-reliefs in white marble.
He died in 1795.
REYTER. See Rbitee.
RHEEN, Theodoeus Justinus, painter, an
obscure artist, who practised at Amsterdam during
the first half of the 18th century. "When young
he studied in Italy under Trevisani. He obtained
a civil appointment in India, where he died.
RHEIN, Nicolas, engraver and painter, born in
1767 at Vienna, was a pupil of Jacobfe. He exe-
cuted several good works in mezzotint, principally
animal pieces ; such as, ' The Lion Ij'ing in wait,'
after a picture of his own ; ' The Mad Bull,' after
Casanova ; ' The Eagle,' after Hamilton ; ' The
Tigress,' after Rubens ; ' Hercules killing the
Lion,' after Rubens; and 'The Waterfall,' after
J. Vernet. He died in Vienna in 1819.
EHBLINGER, Welsee, a native of Germany,
executed a himdred and twenty wood-cuts, for
368
a German book entitled, 'Patricium Stirpium,
Augustanarum Vindelicum, et earundem sodali-
tatis insignia.' The principal figures are all repre-
sented on horseback, completely armed, with the
arms of their respective families on their shields.
RHENI, Remi van, a history painter, born at
Brussels in 1560, travelled through Germany, and
then became a pensioner of the Count de Volfes.
He died in 1619.
EHODEN, JoHANN Maetin von, landscape
painter, born at Cassel in 1778 (1782), went to
Rome in very early life, but returned in 1827 to
his own country as court painter. After a stay of
six years he returned to Rome, where he remained
for the rest of his life. In his landscapes of Italian
scenery he portrayed the vegetation in its full
splendour. He also painted ' The Villa of Hadrian '
and 'The Cloister of St. Benedict.' He died at
Rome in 1868.
RHODES, John, a landscape and animal painter,
born at Leeds in 1809, son of Joseph Rhodes, a
self-taught artist, who died in 1854. He was
brought up by his father, and painted rustic scenes
and groups of cattle. He went to London, where
he settled and, between 1832 and 1842, exhibited
at the Royal Academy and the British Institution,
but suffering from ill health, he returned to Leeds,
where he died in December, 1842.
RHODES, RiCHAED, an English line-engraver,
born in 1765. He worked for many years for
Charles Heath, and died in London in 1838. Speci-
mens of his work are to be found in ' Ancient Terra-
Cottas in the British Museum ' (1810).
RHOMBERG, Hanno, still-life painter, born at
Munich in 1820, was the son of the historical
painter, Joseph Anton Rhomberg, and received
his first instruction from his father. He then entered
the Munich Academy, and studied under Julius
Schnorr. He did not remain there long, but took
to painting portraits under Bernhardt, until a
fourth master, Enhuber, induced him to try genre
painting. The following pictures by him may be
cited — ' The Watchmaker,' in the Berlin National
Gallery ; ' The Boys going to School,' ' The Tight
Boot;-' and in the Pinakothek at Munich, "The
Sledge-Maker,' 'Two Boys trying to Smoke,' 'A
Boy purchasing a Bird.' He died in 1869.
RHOMBERG, Joseph Anton, an historical
painter, born at Dornbirn in the Tyrol in 1786.
Till he was twenty-two years of age he was
employed in farming, but in 1808 he went to the
Academy at Munich, and studied under Langer. In
1814, with his picture of ' The Sacrifice of Noah '
he gained the first prize. He settled in Munich, and
in 1827 was appointed professor of drawing at the
Polytechnic School. His works show very plainly
the influence of Langer. Among them may be
named, 'Rebecca at the Well,' 'Abraham enter-
taining the Angels,' ' The Zither-Player.' He died
at Munich in 1853.
EIBALTA, Feancisco de, a Spanish painter,
born at Castellon de la Plana between 1550 and
1560, was one of the greatest historical painters
of Spain. He studied first in Valencia. His life
affords a parallel to the courtship of Quentin Matsys.
While a student he fell in love wi^ his master's
daughter, and demanded her in marriage, but her
father refused his consent, alleging that he was
not sufiiciently advanced in his profession. Eibalta
and his mistress, however, agreed privately to
wait three or four years, and he immediately
departed for Italy, with the determination of per-
Bibalta
PAINTERS AND ENGRAVERS.
Bibera
fecting himself by the study of the works of the
great masters there. He applied himself with
great assiduity to those of Raphael, Sebastiano del
Piombo, and the Carracci, and copied many of their
pictures, particularly those of Sebastiano. He
returned to his own country after an absenoe of
three years, and the first place he visited was
the atelier of his former master, the father of his
mistress. Finding the sketch of a picture on the
easel, he finished it and withdrew. On the return
of the old painter he expressed much surprise at
the excellence of the performance, and said to his
daughter, "How readily would I give you to a
painter of such ability as this, instead of that
dauber Eibalta." " My father," replied the lady,
"it is Bibalta that did it."
Eibalta acquired great reputation not only in
Valencia, where his best works are to be found,
but all over Spain. The College of Corpus Christi
is a perfect Museum of Ribaltas, the gem of which
is a ' Last Supper.' Eibalta also painted largely for
the different churches and museums throughout
Valencia. The Madrid Museum possesses by him
'The Body of Jesus Christ borne by two angels,'
and a ' San Francisco de Assisi.' Besides these we
may cite a ' Crucifixion,' the altar-piece in the
chapel of Magdalen College, Oxford, a 'Concep-
tion ' in S. Felipe Neri, and ' S. Antonius.' He
died at Valencia in 1628.
. EIBALTA, Juan db, the son of Francisco
Eibalta, born at Valencia in 1597, was instructed
by his father, and at the age of eighteen he painted
a 'Crucifixion' which he inscribed "Joannes Riialta
pingebat et invenit 18 cetatis suce anno 1615,"
a fine picture in composition, drawing, and colour.
He painted for Don Diego de Vich above thirty
portraits of illustrious persons in Valencia, which
De Vich at his death bequeathed to the Monastery
of St. Jerome. Of his other works we may name,
a ' St. Cecilia ' for the Monastery of La Murta, a
' Christ on the Gross ' for the Dominicans of S.
Catalina de Sena in Valencia. The Madrid Museum
possesses pictures of SS. John, Matthew, Mark,
and Luke, and a ' Singer with Music in his hand.'
Juan di Eibalta died in 1628, the same year as
his father.
EIBAULT, Athalie, was bom in Paris 1781.
She was a pupil of Lafitte, and practised portrait
painting.
EIBADLT, JnLlE, was bom at Fresnay, Prance,
in 1789, and was a pupil of Lafitte. She
painted portraits and genre pictures, among which
we may mention : ' Mignard painting Madame
de Maiilterion,' ' Piron at the Porte d'Auteuil.'
EIBAULT, J F , an historical engraver,
was born in Paris in 1767. He was a scholar of
Ingouf, and engraved ' Christ crowned with Thorns,'
after Titian ; ' Marcus Sextus,' after Guerin ; also
' Paris and CBnone,' after Vander-Werfif ; ' A Young
Lady playing on the Guitar,' after Metzu, besides
several other plates for the ' Collection du Mus^e
Napoleon,' published by Laurent and Eobillard.
He also engraved the heads of Bemardin de St.
Pierre, the poet Le Brun, the Empress Marie
Louise ; and a set of the costumes of the grand func-
tionaries of the French court. Eibault died in 1820.
EIBEEA, Ldiz A., painter, was practising at
Seville in the second part of the 17th century.
He was one of the artists who contributed in 1668
to the formation of the Seville Academy.
EIBEEA Y FERNANDEZ, D. Juan Antonio,
painter, born at Madrid in 1779, first studied under
VOL. 11. BB
Bayeu, and in the Academy of S. Fernando, but
afterwards went to Paris and become the pupil of
David. There he painted his ' Cinoinnatus,' which
is now in the Museum at Madrid. In course of
time he went to Eome, and in 1811 was appointed
painter to Carlos IV., and member of the Academy
of St. Luke ; and in 1820 honorary member of
the Academy of S. Fernando. In 1838 he was
made professor, and two years afterwards Director
of the Madrid Museum. He died at Madrid in
1860. Of his pictures we,may cite :
Aranjuez. Palace. Christ crowned with Thorns.
„ „ The Resarrection.
Madrid. Gallery. Wamba.
„ „ Allegory of Summer.
„ „ Allegory of Autumn.
„ „ Afternoon.
„ „ Night.
„ Palace. S. Fernando surrounded by
distinguished Spaniards {ceii-
ing).
Toledo. Cathedral. Portrait of Cardinal Ingranzo.
EIBEEA, Josef or Jusepb de, called Lo Spag-
NOLETTO, painter and engraver, born January 12,
1588, at Xativa (now San Felipe), near Valencia,
was the son of Luiz Ribera and of his<vife Mar-
garita. The Italians have claimed him as a com-
patriot, stating him to have been a native of Lecce
in the kingdom of Naples. The fact of his true
nationality has, however, long been established.
On the 'Bacchus,'- one of the finest of the few
engravings by him still extant, is the following
inscription : Joseph d, Rihera, Hispan'' Valenti'
Setah. f. Partenop : 16^8. His parents designed
him for the profession of letters, and with this idea
sent him to Valencia to acquire classical learning,
but he there became acquainted with Francisco
Eibalta, and abandoning all less congenial pursuits,
devoted himself to the study of art under that
master, with whom he made rapid progress. He
then determined to visit Italy, and to become
acquainted with the works of the great Italians.
He arrived in Eome entirely without resources,
and for a time endured many hardships, but was
fortunate enough to attract the attention of a
cardinal, who, admiring his talent, received him
into his house. At Eome Eibera remained for
some time studying under Caravaggio, whose
system of chiaroscuro had peculiar attractions for
him, and became one of the most distinguished
disciples of that master. A rupture with his patron
caused him to quit Rome, and he is said to have
become a soldier, and to have experienced many
strange vicissitudes, amongst others a period of
captivity as a galley-slave in Algeria. At Parma
he studied for some time, and in his early works
we may distinctly trace the influence of Correggio,
and of other northern masters ; but the rugged
naturalism of Caravaggio was the element in which
he truly delighted, and, abandoning the softer
manner of his early efforts, he finally become the
leader of the ' Naturalisti,' the eccentric school of
realistic painters most sharply opposed to the
graceful eclecticism of the Carracci.
From Eome and Parma Ribera passed to Naples,
the scene of his greatest activity and of his highest
fortunes. He became acquainted with a rich picture-
dealer of the city, whose daughter he married, and
thus he found himself relieved from all pecuniary
embarrassments. At this period the ' Naturalisti '
enjoyed an almost undisputed supremacy in Naples,
would tolerate no intruders in their stronghold,
and waged war against every follower of tho
369
Bibera
A BIOGRAPHICAL DICTIONARY OP
Bicard
Carraoci who came within their reach. Ribera, to
his discredit, took an active part in the persecution
with which his party assailed the eclectics, Quido
Reni, Domenico, and Gessi, resulting in the expul-
sion of these artists from the city. The rulers of
Naples in the early part of the 17th century being
Spanish, Ribera naturally enjoyed a large share
of favour ; he was appointed court painter to the
Viceroy, the Duke of Osuna, and, on a second visit,
was patronized by his successor, the Count de
Monterey, who recommended him to Philip IV.
In 1630 he became a member of the Academy of
St. Luke, and in 1644 he received the decoration
of the Order of Christ from the Pope.
The final abandonment of his early style may
be broadly said to date from his establishment
at Naples. His conceptions became gradually
more and more marked by a wild extravagance
of fancy and by a stern vigour of execution. His
skill in managing violent contrasts of light and
shade is very remarkable, but as a. colourist he
is forceful rather than fine. His large historical
pictures, in spite of great merits in execution, are
generally terrible and repulsive, and his rendering
of mythoiogical subjects is deficient in beauty
and dignity. He delighted in the delineation of
emaciated figures, of Hayings and scourgings, of
scenes of torture and death. He was much patron-
ized by the clergy, especially by the Jesuits, and
painted many important works for churches and
religious houses. The Madrid Gallery contains
a large number of his works, and there are good
examples in the most important public collections,
the ' Pieta ' in the National G allery being excellent
in quality. His colour darkens very much with
age. Ribera had many pupils, among the more
famous of whom are Salvator Rosa, Giordano, Fal-
cone, and Giovanni D6. His daughter. Mama
Blanca, who was frequently his model, also prac-
tised painting. It has been asserted that her father's
death was caused by grief at her seduction by
Don John of Austria, but there seems to be no
solid ground for the statement. Eibera died at
Naples in 1656. The following is a list of his
principal works :
St. Jerome.
A Holy Family.
St. Sebastian.
Martyrdom of St. Bartholomew.
St. Mary of Egypt at prayer be-
fore her own grave ; an Angel
winding her shroud about her.
The Deliverance of St. Peter.
St. Francis of Assisi lying naked
on a bed of Thorns ; an Angel
appearing to him.
Martyrdom of St. Bartholomew.
Martyrdom of St. Lawrence.
The Hermit Paul fed by the
Raven.
St. Andrew.
The Hermit Paul with a Cross.
St. Jerome.
Jacob tending Laban's Sheep.
Diogenes with a Lantern.
A Philosopher in deep medita-
tion.
Portrait of a man in black clothes.
St. Joseph. 1
A Locksmith.
A Mathematician.
St. Jerome.
St. Bartholomew.
St. Francis.
Portrait of Simone Paganucci,
Portrait of an Old Man.
Duns Scotus writing.
Berlin.
Dresden.
Museum.
Gallery.
Dublin.
Dulwich.
Nat. Gal.
Gallery.
Edinburgh. Nat. Gal.
Florence. Uffisi.
Fitti.
Glasgow. Gallery.
Hampton Court.
370
London. Nat. Gal. A Pieti. The Dead Christ and
the Virgin, with St. John and
Mary Magdalene.
„ „ Shepherd with a Lamb.
Madrid. Gallery. The Martyrdom of St. Bartholo-
mew.
„ „ Mary Magdalen.
St. Mary of Egypt.
„ „ St. Paul the Hermit.
„ „ St. Jerome praying.
„ „ Jacob's Ladder.
„ „ Prometheus.
„ „ St. Sebastian.
„ „ A Priest of Bacchus.
„ „ Head of a Sibyl.
„ „ The Conception.
„ The Holy Trinity.
„ „ The Saviour.
„ „ The Twelve Apostles.
„ „ An Anchorite.
„ „ The Blind Man.
„ „ St. Soch.
„ „ St. Francis of Assisi in ecstasy.
„ „ St. Christopher.
„ „ St. Joseph and the Child Jesus.
„ „ Isaac's Blessing.
„ „ Ixion.
„ „ Archimedes.
„ „ St. Augustine.
„ „ Women fighting in a Circus.
Munich. Gallery. Deposition of St. Andrew.
„ „ The Dying Seneca.
„ „ The Penitent Peter.
„ „ St. Bartholomew.
„ „ St. Onuphrius.
A.nd two more.
Paris. Louvre. Adoration of the Shepherds.
„ „ Christ in the Tomb.
„ „ St. Paul the Hermit.
Petersburg. Hermitage. Martyrdom of St. Sebastian.
„ „ St. Jerome in the Desert.
„ „ St. Procopius.
And three more.
Vienna. Selvedere. Christ disputing with the Doc-
tors.
„ „ Christ on the way to Calvary.
„ „ The Penitent Peter.
And two more.
EIBERA, Juan Vicentb, a Spanish painter,
practising at Madrid in the early part of the 18th
century. He was one of the artists appointed
by the Council of Castile in 1725 to tax pictures.
He painted the pendentives of the cupola in the
church of S. Felipe el Real, and is further known
by two scenes from the life of S. Francis de Paul
in the church of la Victoria, and a ' Martyrdom of
S. Justus.'
RIBET, Jean Constantin, marine painter,
practised in France in the early part of the 19th
century. He was a pupil of Forestier. There is
by him a picture representing the taking of the
two English frigates the 'Fox' and the 'Pied-
montese ' by the French vessels ' Venus ' and
' Bellona.'
RIBOLT, WiLHBLM WiLKEN, a Danish painter,
practising in Germany about 1700. At Copen-
hagen there is by him a ' Group of Warriors seated
and preparing to drink.'
RIBON, Fe. M., painter, was bom in Paris,
1790. He was a pupil of Baltz, and painted prin-
cipally upon china.
RICAMATORE, II. See Nanni.
RICARD, Lonis Gustave, portrait painter, was
born at Marseilles in 1824, studied at Marseilles
under Auber until 1844, but afterwards in Paris
under Coignet. In the same year he exhibited a
portrait of Mme. Sabatier at the Salon, which
made a considerable sensation. He copied much
in the Louvre. In 1847 he visited Rome, Florence,
Kicca
PAINTERS AND ENGRAVERS.
Bicol
and Venice, where he studied and copied Titian.
Later on he came to England. In 1850 he
painted a ' Gipsy Girl with a Cat,' which attracted
attention at the Salon, and for the next nine years
Eicard was a constant exhibitor. After 1861, how-
ever, he appeared no more until 1872, when he
sent a portrait of Paul de Musset. His art, how-
ever, was unfitted to the crowd and glare of the
Salon. Quiet and refined in effect, almost to excess,
it had much afiinity, technically, with that of
Prud'hon. His portraits were popular. In 1863
the Cross of the Legion was ofiered him ; " It is
too late," he replied, and remained undecorated
till his death, which took place in 1873, in Paris.
Among his works we may name :
Paris. Zuxemhourg. Portrait of Paul de Musset.
j» ^ „ „ „ himself.
Portrait of Mme. Szarvady.
„ „ Mme. Paul Boul.
„ „ M. Heil^juth {painter).
„ „ M. Anatole de la Forge.
„ „ M. Ziem {painter).
„ „ M. Chaplin {do).
„ „ Eugene Fromentin {do).
„ „ M. Ohenavard.
„ „ Mme. Ton Kalergis.
„ „ Mme. de Calonne.
The German Student.
RICCA, Beenardo, painter, a native of Cremona,
where he was painting in the cathedral about 1612.
RICGARDI, LniGi, a marine painter, born in
1807, whose pictures were painted rather for arti-
ficial effects than with a due regard for truth to
nature. He was a professor at the Brera. He
died at Milan in 1877.
RIOCHI, PiBTKO, called II Lucchese, painter,
born at Lucca in 1606, was first a scholar of Pas-
signano, but afterwards studied under Guido Reni,
He imitated the grace of the latter, though his
colouring resembles that of Pasaignano. In the
church of St. Francesco, at Lucca, there are two
altar-pieces, which evince the fertility of his in-
vention and his readiness of hand. He also painted
several pictures for the churches at Udine. There
is a picture of his in the Dresden Gallery repre-
senting the 'Mystic Marriage of St. Catherine.'
He painted in France, and in the Milanese and
Venetian states, and was very rapid and inde-
fatigable in execution. Ricchi died at Udine in
1675.
EICCHIEDEO, Marco, was born at Brescia,
but it is not known in what year, nor under whom
he studied. He was, however, a very reputable
historical painter. In the church of St. Thomas,
in his native city, there is a fine picture of the
Incredulity of that saint by him.
RICCHINO, Francesco, painter, a native of
Brescia. He ilourished about 1568. He imitated
the style of Moretto, but was also greatly in-
fluenced by Titian.
RICCI, Antonio, called Barbalunga, painter,
born at Messina in 1600, studied under Domenico
Zampieri, and was reckoned among the best painters
of his country. Among his pictures are, ' St.
Gregory,' in San Gregorio, and an ' Assumption,'
in S. Michele in Messina, and an altar-piece in
the church of S. Sylvestro in Capite in Rome.
He died at Messina in 1649.
RICCI, Camillo, born at Ferrara in 1580, was
the best pupil of Ippolito Scarsella, called Lo
Scarsellino. Such was his progress that Barufialdi
reports Scarsellino to have declared that if Camillo
had preceded him in the art, he would have chosen
B B 2
him for his instructor. The style of Rioci is very
like that of his master, but with less freedom and
breadth. In the general harmony of his colouring,
however, he has perhaps surpassed him. The
churches of Ferrara abound in his works, of
which Barotti gives a particular account in his
' Pitture di Ferrara.' His best productions are his
' S. Vinoenzo ' and ' S. Margherita,' in the cathe-
dral ; an 'Annunciation,' in Spirito Santo ; and his
ceiling in the church of S. Niccolo, representing,
in eighty-four compartments, the life and miracles
of that saint. Ricoi died at Ferrara in 1618.
RICCI, Domenico del. See Del Riccio.
RICCI, Felice del. See Del Riccio.
RICCI, Giovanni Ba'iista, called da Novarra,
born at Novarra in 1545, went to Rome when
young, and became a scholar and imitator of
Raffaellino da Reggio. According to Baglione, he
was employed by Sixtus V. in the palace of S.
Giovanni Laterano, and in the library of the
Vatican. He was afterwards appointed by that
pontiff superintendent of paintings in the palace
of Monte Cavallo. He was also much employed
by Clement VIII. Of his own productions in the
public edifices of Rome, the following are 'the most
considerable : — in the nave of the church of S.
Maria Maggiore, he painted in fresco the ' Visita-
tion,' the ' Ascension,' and the ' Assumption of the
Virgin ' ; in S. Maroello, a series of frescoes from
the Life of the Virgin and the Passion of our
Saviour ; but his best work is the ' Consecration
of the Basilica of San Giovanni Laterano by S.
Silvestro,' in that church. Giambattista Ricci is
mentioned in the Abecedario by Orlandi, as an
engraver, but none of his works are specified. He
died in 1620.
RICCI, Marco, the nephew of Sebastiano Ricoi,
was born at Belluno in 1680. After receiving his
first instruction in art from his uncle, he visited
Rome, where he was for some years occupied in
drawing the most picturesque views in the neigh-
bourhood, and the most remarkable fragments of
ancient architecture. From these designs he
painted perspective views, which were greatly
admired. In 1710 he came to England, and his
talents soon excited attention. His landscapes,
with ruins and architecture, are to be found in
many collections. There are several landscapes
of his in the Dresden Gallery. Marco Ricci
etched several plates from his own designs, con-
sisting of views and landscapes, with ruins and
figures, of which the most deserving of notice are
those ■ in a set of twenty-three prints, entitled
' Varia Marci Ricci Pictoris prsestantissimi experi-
menta ab ipsomet auctore inventa, delineata atqua
incisa, et a me Carole Orsolini Veneto incisore in
unum collecta, &c. Anno 1730, Venetiis.'
RICCI, Natale, painter, a pupil of Maratti,
and a native of Fermo. He practised in Italy in
the 18th century.
RICCI, Pietko, painter of portraits and historical
pictures, a pupil of Leonardo da Vinci. He prac-
tised at Milan in the 16th century.
RICCI, Sebastiano, (Rizzi,) born at Belluno, in
the Venetian state, in 1662, was placed when he
was young under Federigo Cervelli, at Venice,
with whom he studied till he was twenty years of
age. On leaving that master he went to Bologna,
where he resided a short time, and was taken
under the protection of the Duke of Parma, who
employed him for some time at Piacenza, and then
sent him to Rome for improvement. On the death
371
Tlicoi
A BIOGRAPHICAL DICTIONARY OF
Bicciolini
of his patron Ricci left Rome, and visited Florence,
Modena, and Parma, studying the great masters
of the Lombard school. He was soon afterwards
invited to the court of Vienna by the King of
Rome, where he was employed in decorating the
imperial palace of Schoenbrunn. On his return
to Venice from Germany, his nephew, Marco Ricci,
who was at that time in London, encouraged him
to visit England, which he did, and met with the
most flattering encouragement. He painted the
chapel at Bulstrode, for the Duke of Portland ; and
in the altar-piece, representing the Last Supper,
he introduced his own portrait in modem dress.
The hall of Burlington House, and some of the
ceilings, and the altar-piece in the chapel of Chelsea
Hospital, were also painted by him. During a
residence of ten years in this country, he executed
several other considerable works for the mansions
of the nobility, and is said to have left England in
disgust, on finding that it was determined that Sir
James Thornhill should paint the cupola of St.
Paul's. Like Luca Giordano, Ricci had a great
facility in imitating the styles of other masters.
His picture of the 'Apostles adoring the Sacrament,'
in the church of S. Giustina, at Padua, is painted
in imitation of the cupola of S. Giovanni, at Parma,
by Gorreggio ; and his ' S. Gregorio,' in S. Ales-
sandro, at Bergamo, recalls the works of Guercino.
But his most successful imitations were those of
Paolo Veronese, many of which he is said to have
sold as by that master. He is said to have de-
ceived the French painter. La Fosse, who avenged
himself by the sarcastic rebuke : " For the future,"
said he, " take my advice, paint no more Riccis."
Sebastiano possessed a fertile invention, and a
commanding facility. Although his design is often
incorrect, his figures are graceful, and his colour,
though sometimes feeble and cold, is often silvery
and agreeable. Some of his very best productions
are at Hampton Court. He died at Belluno in
1734. The following are his best pictures :
Bordeaux. Museum. Love and Fidelity.
Dresden. Gallery, The Ascension.
„ „ A Sacrifice.
Florence. Xfffizi. His own Portrait.
Hampton Court. Falace. The Continence of Scipio.
„ „ „ The Dinner at Simon's House.
London. JVat. Gall. Yenusa,ndLSa,tjTs(unimportant).
Modena. The taking down from the
Cross.
Paris. Zouvre. Allegorical subject. France as
Minerva trampling Ignorance
^ underfoot.
M „ The Delivery of the Keys.
„ „ Polyxena sacrificed to the
Manes of Achilles.
„ „ The Continence of Scipio.
Venice. Due Pal. The Venetian Magistrates re-
vering the Body of St. Mark.
RICCI, Ubaldo, an historical painter of some
merit, a native of Fermo, practising in Italy in
the 18th century. He was a pupil of 0. Maratti.
RICCIANTI, Antonio, an obscure Italian his-
torical painter of the 17th century. He practised
in Florence and its neighbourhood, and was a pupil
of V. Dandini.
RICCIARDBLLI, Gabeible, marine and land-
scape painter, practising in Italy about 1743. He
was a pupil of J. F. Van Bloemen (called Oriz-
zonte), and was employed at Naples, at the court
of Charles de Bourbon.
RICCIARELLI, Danielb, commonly called
Daniblb da Volterba, born at Volterra in 1609,
was first a pupil of Giovanni Antonio Bazzi, called
372
II Sodoma, but afterwards studied under Baldas-
sare Peruzzi. Not meeting with the encourage-
ment he expected in his native city, he went to
Rome, and at first found employment as assistant to
Pierino del Vaga, in the Vatican, and in the Capella
Massimi, in the church of La Triniik de Monti.
He was, however, chiefly indebted for the reputa-
tion he afterwards acquired to the friendship and
instruction of Michelangelo Buonarroti, who assisted
him with designs for work he executed for Agos-
tino Chigi, in the Farnesina, and for others of his
more important productions. But the chief sup-
port of his fame is the series of frescoes in the
Capella Orsini, in the Trinity de Monti, which
occupied him seven years. In these he was
also aided by Buonarroti. The principal picture
of the series is the famous 'Descent from the
Cross,' which used to be considered the finest
picture in Rome after Raphael's ' Transfiguration '
and Domenichino's ' St. Jerome.' In another chapel
of the same church are the 'Assumption of the Vir-
gin' and the 'Presentation in the Temple,' painted
from the designs of Ricoiarelli by his disciples
Gio. Paolo Rossetti and Michele Alberti. After
the death of Pierino del Vaga, in 1547, Daniele
was appointed by Pope Paul III., on the recom-
mendation of Michelangelo, Superintendent over
the works at the Vatican, and commissioned to
finish the ornaments of the Sala Regia, which had
been begun by Pierino. His last great work as a
painter was his ' Murder of the Innocents,' for the
church of St. Peter, at Volterra, which was after-
wards purchased by the Grand Duke Leopold, and
placed in the tribune at Florence. On the death
of Pope Paul III., in 1549, Julius III. deprived
Daniele of his post as Superintendent and of his
pension, and it appears that the latter part of his
life was chiefly devoted to sculpture. Daniele
earned the nickname of II Bragghetone, or the
Breeches-maker, through being employed by Pope
Paul IV. to put draperies on some of the nude
figures in Michelangelo's 'Last Judgment.'
Daniele died at Rome in 1566. His principal
pictures are :
Florence. Trilmne of the Uffizi. Massacre of the Innocents.
Lucca. Duomo, S. Petronilla. {A gracefid
jigure^ ascribed to Eiccia-
relli in hisjirst rmturity)
Paris. Louvre. David's Vi(5bory over Go-
liath. {A double picture,
on the two sides of a slate ;
it was long ascribed to
Michelajigelo.)
Rome. & Trinitd, de' Monti. Scenes from the Life of
the Virgin.
„ „ The , Descent from the
Cross. {Fresco transfer-
red to canvas.)
„ Farnesina. The Triumph of Bacchus.
„ „ Frescoes. The Punic Wars.
„ St. Fietro in Montorio. The Baptism of Christ.
RICCIO, Antonello, the son, and probably the
pupil, of Mariano Ricoio, whose manner he followed.
He was still living in 1576.
RICCIO (Brusasoeci). See Del Riccio.
RICCIO, IL. See Neroni.
RICCIO, Mariano, historical painter, born at
Messina, 1510. He was a pupil of Franco, and
afterwards of Polidoro, whose style he sucoessfully
imitated.
RICCIO, PiETRo. See Pedeini, Giovanni.
RICCIOLINI, NiccoLA, painter, born at Rome,
1637, was a pupil of P. de Cortona. He competeil
against Franoesohini with cartoons for the Vatican
Ricciolino
PAINTERS AND ENGRAVERS.
Bicbardson
ino?ai3s. At Rome there are by him a ' Crucifixion
of St. Peter ' (in mosaic) and a ' Descent from the
Cross.'
EICCIOLINO, Michelangelo, was bom at Rome
in 1654, and is noticed by Abate Titi, who mentions
some of his works in the public places at Rome,
particularly in the church of S. Lorenzo in Pisci-
bus, and a ceiling in S. Maria in Campitelli. His
portrait painted by himself is in the Florentine
Gallery. He died at Rome in 1715.
EICCO, Beknaedo. See Ricca, Beenaedo.
RICHARD, Charlotte Josephine, a painter of
portraits and subject pictures, born in Paris, 1791,
was a pupil of Chaudet and of Ducq.
RICHARD, Fleuey FsANgois, painter of his-
torical and genre pictures, bom at Lyons, 25th
February, 1777, was a pupil of David, and after-
wards founded a school of his own at Lyons, where
he died, 1842. By him we have the following :
Vert-vert (in the Museum of Lyons).
Valentina of Milan bewailing the Death of her Husband.
King Francis and his Sister, Margaret of Navarre
{engraved by Boucher Desnoyer),
Charles VII. writing his last Farewell to Agnes Sorel.
Tasso in Prison.
RICHARD, Monsieur. See Taueini.
RICHARD, , painter upon glass, executed,
in 1270, the fine paintings upon glass for the choir
of the cathedral at Tours.
RICHARD, THfioDOEB, landscape painter, bom
at Milhau, 1782, was a pupil of Victor Bertin. He
was appointed chief of the lands department in
Gantal in 1802, and filled similar oSices until 1819,
in which year he was at Bordeaux. There he made
the acquaintance of the young Brasoassat, and
painted in his company with such success that in
1823 he resigned his appointments as an engineer,
and set up as a painter at Toulouse. Thence he
sent his pictures yearly to the Salon. He passed
through the various degrees of honour up to the
Cross of the Legion. He died in 1859 at Toulouse,
where the following works by him are to be found
in the Museum :
View of the Pic da Midi.
The ■Woodcutters.
The Drinking Place.
A Study of Oaks.
RICHARDS, John Inigo, an English landscape
painter, bom in the first half of the 18th century.
On the foundation of the Royal Academy, he be-
came one of the original members, and in 1788 was
appointed its secretary. He contributed to its ex-
hibitions from 1769 to 1809. His pictures were
chiefly representations of English mediaeval ruins.
He was best known as a scene-painter, working at
Covent Garden Theatre, and in this branch of art
he obtained a great reputation. Hearne and
McArdell both worked after him, and one of his
scenes for the ' Maid of the Mill ' was engraved by
WooHett, and won great popularity. Richards
repaired the famous cartoon of a 'Holy Family,'
by Leonardo da Vinci, which belongs to the Royal
Academy. He died in his rooms at the Academy
in 1810.
RICHARDSON, Jonathan, portrait painter, bom
in 1665. His father dying when he was only five
years of age, his mother married a second time, and
he was, contrary to his inclination, articled to his
father-in-law, who was a scrivener ; but the death
of the latter enabled him, in the sixth year of his
apprenticeship, to indulge an inclination he had
long felt for painting, and to become a pupil of
John Riley, under whom he studied four years.
Having made considerable progress in art, he
married the niece of his instructor, and established
himself as a portrait painter. Though Kneller
and Dahl were then in great vogue, Richardson
possessed sufificient merit to secure a share of the
public favour even during their Uves, and after
their death he was considered at the head of his
profession. He continued in enjoyment of his popu-
larity for many years, and was enabled to retire
long before his death. But Richardson is best
known as a writer upon art. He published the
following works: 1. ' The Theory of Painting.'
2. 'The Connoisseur, an Essay on the whole Art
of Criticism, as it relates to Painting.' And, 3.
'An account of some of the Statues, Bas-reliefs,
Drawings, and Pictures in Italy, &c., with remarks
by Mr. Richardson, sen. and jun.' The son made
the journey, and from his notes, letters, and observ-
ations the two, on his return, compiled the work.
In 1734 they also published 'Explanatory Notes
and Remarks on Milton's Paradise Lost, with the
Life of the Author, and a Discourse on the Poem.'
Richardson died in London in 1745. His pictures
are of the solid, steady-going, heavy-handed kind,
and scarcely deserve the oblivion into which they
have sunk. A head, apparently of Gay, in the
National Gallery, seems to be a more than usually
excellent work by Richardson. Works :
London. Nat. Fort. Gall. Portrait of Mr. Oldfield.
„ „ „ „ Alexander Pope.
„ „ „ „ Matthew Prior.
„ „ „ „ Sir S. Steele.
„ „ „ „ Lord Chancellor
Talbot.
„ „ „ „ George Tertue.
RICHARDSON, Jonathan, the only son of the
last named, was bom in 1694. He painted only as
an amateur, but, having been blessed with a good
education, he assisted his father in his literary
productions. His portrait of Matthew Prior has
been engraved. He died in London in 1771.
RICHARDSON, Thomas Miles, an English
landscape painter in oil and water-colours, born at
Newcastle-on-Tyne in 1784. His father was
master of the St. Andrew's Grammar School. His
early years were passed in a variety of occupations :
engraving, cabinet-making, and teaching (in 1806
he was named successor to his father at the school)
occupied him successively till 1813, when he de-
voted himself entirely to art. In the following
year he -commenced exhibiting at the Academy,
and his works also appeared at the British Institu-
tion. Subsequently he joined the New Water-
Colour Society. The subjects of his pictures were
mainly taken from the northem counties, and won
him a wide reputation. In 1816 he began to pub-
lish, in conjunction with a partner, a work on
Newcastle and its neighbourhood, with illustrations
in aquatint, but only a few numbers were issued.
In 1833 he began, in partnership with his brother,
the publication of .'The Castles of the English and
Scottish Borders,' with mezzotint plates engraved
by himself. This enterprise also stopped short of
completion. His work in water-colour shows very
great talent. His life was chiefly spent at New-
castie, where he died in 1848. Amongst his works
are:
Dublin. National Gallery. Kiver Scene.
Liverpool. Corporation Gall. Scene between Chamouni
and the Tete Noire.
,, Lago Maggiore.
373
Kichart
A BIOGRAPHICAL DICTIONAKY OF
Bichter
Newcastle. Town-Hall. View of Newcastle.
South Kensington. Museum. Ben Lomond.
EICHART. See Db la Maee-Richart.
EICHARTE, Antonio, born at Yeola in 1690,
was educated for a learned profession, but he pre-
ferred painting, which he studied under Senen Vila
at Morcia, and afterwards at Madrid with one of
the Menendez. He was very popular at Valencia,
where he was much employed in painting pro-
cessional banners for the Guild of that city. He
died in 1764.
RICHE, Ad^le, born in Paris, 1791. She was a
pupil of G. Van Spaendonck and of Van Dael, and
painted flowers in water-colour.
EICHE, , probably Renieb La Richb,
a French painter, practising at the Hague at the
beginning of the 18th century. He was a pupil
of Th. Van der Schuur.
RICHIER, DiDiER, or Didieb db Vie, painter,
practising in Lorraine in the latter part of the 16th
century. He studied in Italy, and finally established
himself at Nancy, where he became known chiefly
as a skilful painter of armour. His son, Pieebe,
was also a painter.
RICHIERI, Antonio, a native of Perrara, born
in 1600, was brought up in the school of Giovanni
Lanfranco. According to Passeri, he followed that
master to Naples and Rome, and painted some
frescoes at the Teatini from the designs of 'Lan-
franco. He is said to have etched some plates
from the designs of his master.
RIOHMANS. See Rykman.
RICHMOND, Thomas, an English miniature
painter, born at Kew in 1771. He studied under
G. Engleheart, and at the St. Martin's Lane
Academy. Many of his works appeared at the
Royal Academy between 1795 and 1825, and were
held in sorne repute. He died in London in 1837.
He was the father of Mr. George Richmond, R.A.,
and of Thomas Richmond, junior.
RICHMOND, Thomas, the son of the last-named,
was born in London, 16th September, 1802. He
acquired the rudiments of art from his father, and
in 1820 entered as a student of the Royal Academy,
where he distinguished himself by the refinement
of his drawings from the antique. After a period
of study in Paris he established himself as a
portraitist in oil and water-colour in the north of
England. In 1841 he went to Rome, where he
became the close friend of Joseph Severn and John
Ruskin. Returning to England, he continued to
paint portraits for a time in London, but finally
migrated to Cumberland, where he purchased a
small property. He died at Keswick on November
13th, 1874. From 1822 to 1860 he was an exhibitor
at the Academy and with the Society of British
Artists.
RICHOMME, Joseph Theodore, a very eminent
engraver, was born in Paris in 1785, and was first
a scholar of Regnault, the painter, and afterwards
of J. J. Coiny, the engraver. He obtained the
grand prix of the Institute for the best engraving
in 1806, and his later career did not falsify the
promise then given. Riohomme died in 1849. His
works class with those of the beat modern engravers
of Italy. Among them may be specified.
The Triumph of Galatea ; after Raphael.
The Five Saints ; after the same.
The Holy Family ; after the same.
Adam and Eve ; after the same.
Neptune and Amphitrite ; after Giulio Romano.
374
Venus at the Bath ; after the Antique.
Andromache ; after Guhin.
Thetis crowning Vasco de Gama ; after Gerard,.
RICHTER, Adolph, painter, bom at Thorn in
1816, studied at the Academy in Diisseldorf from
1835 to 1843, in which city he established himself.
His paintings are simple, but show the efiects of
careful study. The best are, 'Christmas Eve,'
' The Return of the Reservist,' ' The Village School.'
He died at Dtisseldorf in 1852.
RICHTER, Adeian Ludwig, painter and en-
graver, was bom at Dresden, September 28, 1803.
His education in art was received from his father,
Karl August, who meant his son to be an engraver,
like himself. Adrian's inchnation towards painting
was, however, very strong, and he would have
indulged it from the first had his domestic sur-
roundings been less unfavourable. He was also
much attracted by the works of Chodowiecki,
which had some influence on his after practice.
He helped his father for a time in his engraving,
particularly on a series of views in Dresden and the
neighbourhood ; but a wider horizon was opened
to him by his acquaintance with Dahl, Friedrich,
and Carus, and by a journey through France to
Nice, in company with Prince Narischkin, in 1820.
Shortly afterwards he made a tour among the Alps,
and with the money he obtained from the resulting
sketches, he contrived to visit Italy. This was in
1823. In Rome he made many useful friends, and
painted his first oil picture. In 1826 he was again
at Dresden, and soon after became a master in the
drawing school attached to the porcelain factory
at Meissen. In 1836 he was appointed professor
at the Dresden 'Academic,' where he introduced
the fashion of combining genre with landscape.
The first thing to make his name popular, however,
was the series of illustrations from German life,
scenery, and literature, which he furnished to the
wood engravers from 1835 onwards. During his
later years he was troubled by a weakness of the
eyes, and in 1876 he retired from his official duties,
being granted a pension by the emperor. Eichter
died at Dresden, June 19, 1884. His oil pictures
are few, and mostly belong to his early period.
The following may be named :
Berlin. Museum,. Landscape (Eiesengebirge).
Dresden. Gallery. Landscape with a Wedding.
)> „ Ferry at the SchreckensteSi.
Leipsic. Museum. Five landscapes.
He produced many water-colour drawings and
designs for illustration: he also etched no less
than 238 plates, among which a series of 70 views
in the neighbourhood of Dresden may be named
as perhaps the best.
EICHTER, August, painter, bom at Dresden,
1801. In 1824 he was practising at Diisseldorf,
and associated himself with Cornelius, one of
whose designs he carried out in fresco at Helldorf.
Towards the end of his life he became insane. He
died at Pima in 1873. His best-known works
are engraved :
Jacob's Blessing.
Hagar in the Desert.
The Unbelief of St. Thomas.
RICHTER, Caegline Thebese, flower and genre
painter, born at Dresden in 1777, was a pupil of
Caroline Friedrich. In the Dresden Gallery are two
pictures by her : ' A Carp with a Vase of Flowers,'
and 'Two Squirrels, a branch of a Nut Tree,
Stag's Horns,' &c. She died at Dresden in 1865.
Richter
PAINTERS AND ENGRAVERS.
Bidinger
EICHTBB, Christian, was a native of Stock-
holm, and came to England in 1702, where he
painted portraits both in oil and in miniature ;
chiefly studying the works of Michael Dahl, from
which he learned a vigorous manner of colouring.
In the latter part of his life he turned to enamel-
ling, but died in 1732 before he had made much
progress in that branch of art.
EICHTEB, David, a Swedish painter, born 1661.
He practised at Vienna. There are two landscapes
by him in the Gallery of that city, and at Stock-
holm a portrait of the sculptor Casanova (?). He
died 1735.
RICHTER, Emil Theodob, landscape painter,
born at Berlin in 1801, painted landscapes, ill-
drawn but bright in colour, among which were a
' Woodland Scene with Deer,' and pictures of Italian
scenery. He died at Munich in 1878.
BICHTER GusTAV, painter, born at Berlin,
August 31, 1823. He studied first at Berlin, and
in 1844 — 1846 was the pupil of Cogniet in Paris.
He made numerous journeys to France and Italy,
and in 1861 was commissioned by the King of
Bavaria to visit Egypt, to make sketches for
pictures of the Pyramids, which were destined for
the ' Maximilianeum ' at Munich. He had pre-
viously to this attracted considerable attention by
his 'Raising of Jairus' Daughter' (1856), and by
his decoration in stereo-chrome, at the New
Museum of Beriin, ' Baldur and the Valkyri.' He
was member, and later professor, of the Berlin
Academy, and member of the Academies of Munich
and Vienna, and received medals at Berlin, Vienna,
Paris, Brussels, and Philadelphia. His works,
which are very popular, have become widely
known both in Europe and America, by chromos.
He executed a few lithographs. He died on April
3, 1884. The following are good examples of his,
art:
Jairus' t)aughter. (Berlin National Gallery) 1856.
The Egyptian Maiden.
The Odalisque.
The Neapolitan Fisher-Boy.
Gipsies of the Crimea.
Two portraits of the Emperor William. 1877.
Portrait of the Empress Augusta. 1878.
Portrait of the Princess Karolath. 1872.
Portrait of Queen Louisa of Prussia. (Painted in 1879
for the Cologne Museum.)
Portrait of the Duchess of Edinburgh.
Portrait of Sultan Abdul Medschid.
His own Family.
RICHTER, Henry J., a 'subject painter in water-
colours, bom in 1772. He was of German extrac-
tion, and practised in London, where he occasion-
ally exhibited at the Academy from 1788. His
works chiefly appeared at the Water-Colour Society,
of which he was a member, intermittently, from
1813 to his death. In 1813 his picture of ' Christ
giving sight to the Blind' was bought by the
British Institution for 500 guineas. He published
a work on the application to art of Kant's philo-
sophy ; it was entitled ' Daylight, a Recent Dis-
covery in the Art of Painting, with hints on the
Philosophy of the Fine Arts and on that of the
Human Mind, as first dissected by Emanuel Kant.'
He died in London in 1857. Some of his pictures
attained considerable popularity. Amongst them
were;
The Eod.
The Tight Shoe.
School in an Uproar.
A Brute of a Husband,
RICHTER, JoHANN Heinrich, painter, born at
Coblentz, 1803. He began his career as a gold-
smith, but soon devoted himself to painting, and
after studying in Paris under Girodet-Trioson and
Gerard, he established himself as a portrait painter
at Munich. In 1832 he went to Italy, where he
remained for three years, and during that period
painted several scenes from Italian life. Returning
to Munich he resumed the practice of portrait
painting. He died at Coblentz in 1845. Among
his works we may mention :
Portrait of King Otho of Greece.
Portrait of the Hereditary Grand Duchess Matilda of
Darmstadt.
Soman Girl in a Landscape.
RICHTER, Karl August, a German draughts-
man and engraver, was born at Dresden in 1776.
He was a pupil of Zingg, whose style he followed
faithfully. Many of Kichter's productions were
published under Zingg's name, when the latter
became enfeebled by age, and unable to fulfil his
commissions. Richter was the first teacher of his
son, Adrian Ludwig. Among his works we may
name:
Landscape ; after Buisdael.
Landscape ; after Swanevelt.
Dresden from the Bautzener Strasse.
„ „ Moreau's Monument.
A Series of Yiews in the Neighbourhood of Dresden.
RICKARDS, Samuel, a miniature painter, who
practised in London in the latter part of the 18th
century, and exhibited with the Society of Artists,
the Free Society, and the Royal Academy between
1768 and 1781.
RICKE. See Rycke, Van.
RICO, Andrea, a Greek painter, of the island of
Candia, practising in the first years of the 12th
century. He was one of the first artists who sent
works into Italy. At Florence, in the Uffizi, there
is a ' Virgin and Infant Christ surrounded by
Angels holding the Emblems of the Passion,' by
him. It is signed Andreas Rico di Gandia pinocit.
RICOIS, Franqois Bdme, painter, horn at
Courtalin. He was a pupil of J. V. Bertin, and
painted landscapes in the early years of the
present century, amongst which we may mention
a ' View in the Bernese Oberland,' and a ' View of
Montreuil.'
RIDINGER, Johan Elias, (Ribdingee,) animal
painter and engraver, born at Ulm in Suabia in
1695 or 1698, received his first instruction from
Christopher Resch, in Ulm, and then studied under
Falk and Rugendas in Augsburg. He had been
brought up a huntsman, and applied himself to
the illustration of animal life and of the modes
of the chase. In 1769 he became director of
the Art Academy in Augsburg, where he estab-
lished himself. His works as a painter are few,
and but little known ; but in his etchings from
his own pictures he displays ability of an un-
common kind. His sons, Martin Elias and Jo-
HANN Jakob, assisted him in his work. The
number of his prints is very great ; they are very
unequal in quality. He died at Augsburg in
1767. The following are among the best of his
plates :
A set of twelve plates of the Creation.
A set of Heads of "Wolves and Foxes.
Four plates of Boar-hunts.
A set of sixteen plates representing the mode of hunting
different animals in Germany, with inscriptions in
German and French.
375
Bidley
A BIOGRAPHICAL DICTIONARY OF
Bieder
Eighteen plates of Horsemanship.
Thirteen plates of various Wild Beasts.
A Lion-hunt ; after Bubens ; for the ' Dresden Gallery.'
RIDLEY, William, an English engraver, bom
in 1764. He had a considerable practice in illus-
trations for books, and some of his best vioA is
to be found in the ' Bvangelioal_ Magazine.' He
retired to Addlestone, where he died in 1838.
RIDOLFl, Cavaliebe Caelo, born at Vicenza
in 1602, was instructed in art by Antonio Vassil-
acchi, called I'Aliense, but afterwards studied the
works of the best masters at Verona and Vicenza.
Little is known of his work as a painter, but
Lanzi mentions, as his beat performance, the
' Visitation of the Virgin ' in the church of the
Ognissanti at Venice. He also painted portraits
and easel pictures for private collections. He is
more distinguished as a writer on art than as a
painter, and was the author of the well-known two
volumes, published at Venice in 1648, entitled, ' Le
Maraviglie dell' arte, ovvero le Vite degl' illustri
pittori Veneti, e dello State' These are written
with a directness and simplicity which was very
rare in the literature of the time, and form a
valuable contribution to art history. The good
sense and freedom from manner they display
were also the ruling notes of Ridolfi's works as a
painter. He died in 1658, according to an epitaph
quoted by Zanetti in his ' Guide to Venice ' (1723),
but 1660 is the date more usually given.
RIDOLFl, Claudio, was born at~ Verona in 1560,
and was for some time a scholar of Dario Pozzo, a
painter of little celebrity ; but he afterwards entered
the school of Paolo Veronese. As Venice was at
that time the residence of a great number of eminent
artists, he went to Rome in search of employment.
Not meeting with the success he expected in that
capital, he visited Urbino, where the works of Pede-
rigo Barocoio were then held in the highest estima-
tion. He formed an intimacy with that artist, and,
with the advantage of his instruction and advice,
acquired the graceful style by which he was after-
wards distinguished. Ridolfi resided several years
at Corinaldo, in the March of Anoona, where he
painted many pictures for the churches of that
town and its vicinity. Of his works at Urbino, the
most esteemed are the ' Birth of St. John the Bap-'
tist,' in S. Lucia ; and the ' Presentation in the
Temple,' in Spirito Santo. At Rimini there is a
fine ' Deposition from the Cross ' by Ridolfi. He
also painted portraits. He died in 1644.
RIDOLFI, MiOHELB, painter, born in Lucca in
1795. Studied in Rome in 1813 and following
years, helped and encouraged by the German
artists, principally Cornelius and Overbeck, who
taught him to respect the masters of the 15th
century, as well as the works of Raphael. His
principal picture, the 'First Council of the Apostles
under the Presidency of St. Peter,' shows much
breadth and power of characterization. For his
' Enthroned Madonna ' he received two gold medals
and a crown of laurel from the Pope. He restored
Aspertini's frescoes in a chapel of S. Prediano at
Lucca with great skill. Ridolfi was an honorary
member of the Dresden Academy. He died at
Lucca in 1854.
RIDOLFI, PiETEO, an Italian engraver, who
flourished about the year 1710, is known for a fron-
tispiece which 1 e engraved from a design by C. N.
Lamparel, affixed to a volume containing views of
ancient and modern Rome, published at Venice in
1716. It is executed in a style resembling that
376
of Oornelis Bloemaert, though very inferior in
merit.
RIEBENSTEIN. See Rubinstein.
RIEDEL, Anton Heinbich, painter, son of
Johann Anton Riedel, was born at Dresden in
1763. He painted portraits, and was also, like his
father, an engraver. Died after 1809.
RIEDEL, August Heinbich, (or Joseph,) painter,
born atBayreuth, Dec. 27, 1802. His father, Kael
Cheistian, was an architect, who, however, occa-
sionally practised painting. The younger Riedel
studied for a time under Langer, at the Munich
Academy, but in 1828 he went to Rome, where
he settled, and became a member of the Academy
of St. Luke. From this time he adopted a very
different style of painting. He was one of the
first of the modern Germans to concern himself
with colour. His works are also distinguished by
various effects of light and sunshine, with which
he was very successful. Riedel died at Rome on
the 8th of August, 1883. The following are among
his best-known pictures :
Sakuntala. 1 {In the possession of the Kijy oj
A Eoman Woman. J Wlirtemberg.)
Women of Albano. (Berlin National Gallery.)
Girls Bathing (the same).
Judith. (New Pinacothek, Munich^
A Mother and Daughter (the same).
Portrait of Marincoia Joli (the same).
Portrait of Felice Beraldi (the same).
Portrait of Pellegrini the Singer (the same).
Portrait of the Signora Pellegrini (the same).
Neapolitan Fisher-Family (the same).
The Fortune-Teller (the same).
Portrait of Nazarena Trombetti (the same).
Medea. (In the StUttgart Galleri/.)
The Neapolitan Mother.
Many of the above have been rendered popular
by engravings and lithographs.
RIEDEL, Gottfried Friedeich, bom at Dres-
den, 1724. Painted portraits and history, and
engraved a few plates. He was the son of Johann
Gottfried Riedel. He died at Augsburg in 1784.
RIEDEL, Johann Anton, a German designer
and engraver, son of Johann Gottfried Riedel, bom
at Prague in 1733, was keeper of the Dresden
Gallery, and engraved several plates Eifter pictures
in that collection, in which he imitated the style
of Rembrandt. Among them we may name the
following :
The Virgin and Infant Christ ; after Barocrio.
The Seven Sacraments ; after Gio. Maria Crespi,
A Portrait of Rembrandt ; after Rembrandt.
A Warrior, with a cap and feather ; after the same.
Sixteen other plates ; after the same.
A Portrait of a Lady holding a Letter ; after Vandyck.
Twenty-one Portraits ; after Both, Dietrich, Flinclc,
Orebber, &o,
Riedel died at Dresden in 1816.
RIEDEL, Johann Gottfeied, painter and
engraver, born at Talken in Bohemia in 1691,
was a pupil of Miinnl in Vienna, and afterwards of
Solimena. He went in 1739 as court painter to
Dresden, and in 1742 he was appointed keeper
of the Dresden Gallery. He died at Dresden in
1766.
RIEDER, Geokg, an obscure historical painter
of Ulm, who was received into the freedom of that
city in 1550. He was still living in 1570.
RIEDEE, WiLHELM August, painter, bom at
Dobling in 1796. In 1825 he became professor of
figure-drawing at the Academy of Vienna. In 1835
he went to Italy to study, and on his return to
Vienna in 1857 was made keeper of the Belve^
Siedinger
PAINTERS AND ENGRAVERS.
Kietschoof
dere Gallery. His works are mainly religious, but
he occasionally painted portraits in water-colour,
of which we may mention that of Franz Schubert ;
and he made some drawings for the Archduke
Ludwig, and the Archduchess Maria Elizabeth.
His best known works in oil are :
Christ on the Mount of Olives.
Saint Rosalie.
Portraits of Prince Ferdinand and of Prince Augustus
of Saxe-Coburg.
Portrait of the Fran Ton Sonnenfels.
Effie Deans in Prison. ( Vienna.)
Eieder died at Vienna in 1880.
EIEDINGER. See Eidingee.
RIEFSTAHL, Ludwiq Fmbdrich Wilhelm,
landscape and genre painter, was bom the 15th
of August, 1827, at Neu-Strelitz. Failing to be-
come the pupil of Gropius and Gerst, as he had
wished, he studied under W. Schirmer at the
Berlin Academy. In 1848 ho made the archi-
tectural illustrations for Kugler's ' History of Art.'
This commission started him in life. He travelled
through the most picturesque parts of Germany,
and the impressions he received had a strong
influence upon his after work. In 1869 he visited
Rome, and a year later became professor at the
art school in Carlsruhe. This post he resigned
in order to revisit Rome, but two years afterwards,
in 1875, he was appointed director of the school
in question. His works are mainly landscapes
with figures. He died in 1878. Works :
Berlin. National Gallery. Passeyer Shepherds at Prayer.
1864.
„ „ All Souls' Day at Bregenz.
1869.
Procession of Mourners, Bregenz.
A Northern Heath.
Seashore at £1igen.
"Village Church in Westphalia.
Procession of Capuchin Monks.
Bridal Procession in the Passeyer Thai.
The Betum from the Baptism,
Funeral Procession before the Pantheon.
Funeral at Appenzel.
In the Eefectory.
RIEPENHAUSEN, Eenst Ludwiq, draughts-
man and engraver, born at Gottingen, 1766. He
engraved a number of plates in the manner of
Chodowiecki, but is best known as the author of
some engravings after Hogarth in the ' Gottingen
Almanack,' and as the father of Franz and Johann
Riepenhausen. He died at Gottingen, 28th January,
1840.
RIEPENHAUSEN, Fbanz and Johann, bom
at Gottingen ; Franz in 1786, and Johann in 1789.
They first learned engraving from their father,
Ernst Ludwig. In 1804 they studied in Gassel
under Tisohbein, and the following year in Dresden.
In 1807 they both went to Rome to study the old
masters, and till the death of Franz they worked
so well together that it was impossible to dis-
tinguish their hands. Franz died in Rome in 1831,
and Johann in the same city in 1860. Works :
Der Sanger (in illustration of Goethe's poem).
Madchen aus der Fremde (in illustration of Schiller's
poem).
Hagar. 1820.
View of Borne. 1820.
Legend of St. Elizabeth (painted for the Duke of Cam-
bridge). 1822.
Copy of Eaphael's ' Transfiguration.'
Conradiu receiving sentence of death.
Barbarossa protected by Henry the Lion as he left St.
Peter's (in the Guelfen Saal, Hanover).
PAINTED BY JOHANN ALONE AFTER THE DEATH
OF FRANZ.
Eric of Brunswick.
Amor listening to Music.
A ' Madonna. '
Christus Consolator.
The Destruction of the Oenci Family. 1839.
In 1810 the brothers published the 'History of
Painting in Italy ' (' Die Gesohichte der Malerei in
Italien nach ihrer Entwickelung '), with twelve
plates by themselves. They also made a series of
designs for Goethe's 'Faust,' for Schiller's 'Taucher,'
and for a life of Charlemagne. They also etched
115 plates, among which we may name :
Thirteen plates from the Life of Kaphael.
Sixteen plates from ' Polygnotus at Delphi.'
Fourteen plates from Tieck's ' Genovef a.'
Sixteen plates after ancient classical monuments.
EIESENER, Henri FRANgois, painter, born in
Paris in 1767, studied under Vincent and David.
His father was the famous cabinet-maker to Louis
XVI. On the outbreak of the Revolution he
abandoned his artistic career for that of a soldier.
On resuming his brush, he employed it in paint-
ing portraits. A portrait of Napoleon I. was so
successful that he had to supply more than fifty
replicas. From 1816 to 1823 he worked in Russia,
both in Moscow and Petersburg, where he was
patronized by the Grand. Duke Constantino and
the Empress-mother, and painted portraits of the
Emperor Alexander and other notabilities. He
contributed to the Salons between 1793 and 1827.
In 1828 he returned to Paris, where he died in
1828. In the Louvre there is a portrait of M.
Ravrio by him.
RIESENER, Louis Antoine L^on, a French
historical and decorative painter, born in Paris in
1808. He was the son of Henri Franjois Riesener.
Though he studied under Gros, he was a great
admirer and follower of Delacroix. He painted
many studies from the nude, of a rather voluptuous
character, but excellent in technique. His attention
was largely devoted to decoration, and there are
works by him in the Luxembourg Palace, in St.
Eustaohe, and at the Charenton Hospital. Those
in the old H6tel de Ville perished when the build-
ing was burnt by the commune. His daughter
is a successful portrait painter. Riesener died in
1878. Amongst his chief pictures we may name :
Juno.
Leda. 1841.
A Nymph.
Venus.
A Bacchante playing with a Panther.
E^ptiau Child and Nurse.
Erigone. 1864. (Paris; iMxemlourg Gallery.)
RIETER, Heinrich, painter and etcher, born
at Winterthur in 1751, learned his art of Schellen-
burg, and afterwards studied under Graf in Dresden,
also landscape painting in Bern under Staberli.
On the death of the latter he inherited his plates,
and added to the series with plates of his own.
These were superior to those of his master. His
best plates are, ' The Waterfall of Reiohenbach,'
' The Giessbach,' ' The Peak of the Jungfrau.' Of
his oil paintings the chief were landscape views
of Italian and Swiss scenery. Rieter died in 1818
at Bern, where he had taught drawing at the
!^oole Publique for thirty-seven years.
RIETHOORN, Jean Albertz van den. See
Van den Eiethooen.
RIBTSCHOOF, Hendrik, the son and pupil of
Jan Claasze Rietschoof, was born at Hoorn in 1678. ,
377
Rietschoof
A BIOGRAPHICAL DICTIONARY OP
Eigaud-y-roa
He painted similar subjects to those of his father,
whose skill, however, he failed to rival. He died
at Koog, a village in North Holland, about 1746.
RIETSGHOOF, Jan Claesz, (perhaps Glaes
Jansz), born at Hoorn in 1662, was a scholar of
Abr. Liedts and Ludolf Backhuysen, under whose
tuition he became an eminent artist, and painted
sea-pieces and storms so much in the style of his
instructor, that his pictures are sometimes mistaken
for those of Backhuysen. He particularly excelled
in painting storms, which he reproduced with much
fidelity. He died in 1719. Works :
Amsterdam.
B. Museum. A Calm.
„ A Storm.
EIETSTAP, Anthonis R., a Dutch landscape
painter, born at the Hague, 1814. He was a pupil
of A. Sohelfout. He died in 1837.
RIEUE, Jbhan, (Dbieux, Dheux,) a native of
Bruges, who worked as an illuminator in the l5th
century. In 1439 he illuminated a ' Book of
Hours ' for the Duke of Burgundy, and in 1449-50
he was attached to Philippe-le-Bon as valet-de
chambre and illuminator. He was still alive in
1455.
RIEFLA.ERT, Alexandeb Victob, a Belgian
painter of little note, born at Brussels. He painted
historical and genre pictures, and was still alive in
1829.
RIGA, Jean, a Belgian painter, probably of the
same family as N. J. Riga. He was born at Liege
in 1680, and was employed at the H6tel de Ville.
He also painted sacred subjects for the churches of
his native town, but none of his works have been
preserved. He died in 1725.
RIGA, MtJLLER VON. See Mdllee, Johann
Jakob.
RIGA, N. J., a Belgian painter, born in 1653, at
Lifege. There are pictures by him in several
churches of his native town. He died in 1717.
RIGAUD, Gaspabd, portrait painter, was a
younger brother of the famous Hyacinthe Rigaud,
but of greatly inferior talent. He was appointed
one of the painters to the king, and became an
associate of the Academy in 1701. He died in
1705.
RIGAUD- Y-ROS, Hyacinthe Franqois Ho-
NOEAT Mathias Pieere-le-Maette Ande^ Jean,
a French portrait painter, was bom at Perpignan
the 20th of July, 1659. Both his father, whom he
lost when he was but eight years old, and his
grandfather, were artists. At the early age of
fourteen, his mother, for whom he had a great
affection, sent him to study at Montpellier. Here
he received instruction for some time from the
local painters Pezet, Verdier, and Ranc. After a
stay of four years at Montpellier, he migrated to
Lyons, and afterwards to Paris, where he arrived
in 1681, and began to study in the Academy.
In the following year he gained the first prize
for painting for his version of ' Gain building the
city of Enoch.' At this critical period of his
career he attracted the notice of Le Brun, who
strongly advised him to continue the work at
portraits, which he had already commenced, and
to abandon the idea of studying in Italy. Rigaud
took this advice, and, to improve his style,
applied himself to a diligent study of the works
of Van Dyck, whose disciple he always pro-
fessed to be._ At first his sitters came from
the bourgeoisie. His firm establishment as the
fashionable painter of the upper classes may
be sfiid to date from 1688, when the brother of
378
Louis XIV. sat to him. Notwithstanding that his
career was thus definitely marked out, he had the
ambition, not uncommon amongst French artists,
of being received into the Academy in the highest
class, that of historical painters. With this view
he submitted a ' Nativity ' as his reception picture
in 1687. But the Academy was obdurate, and he
was only admitted as a portrait painter. It was
not till 1700, when he had risen to the first rank
in his profession, that he was received as an his-
torical painter, on the completion of ' St. Andrew,'
now in the Louvre. He became assistant professor
in the Academy in 1702, professor in 1710, and
assistant rector and rector in 1733. Other honours
were freely bestowed on him : he was ennobled in
1709, and as he had the misfortune to lose his
savings through the schemes of Law, the king
granted him a pension. There are but few other
events in his career to record. His large practice,
and the industry with which he worked, left him
but little time for any pursuit but that of art.
From a list which he kept, specifying each portrait
which he painted and the sum received for it, it
appears that he produced, on an average, between
thirty and forty portraits per annum. It is said,
too, that Rigaud did not intrust the accessories
to other hands, but painted them himself. After
a long and prosperous career — he was practising
for no less than sixty-two years — Rigaud died in
Paris in 1743. He painted five kings, all the
French Princes of the Blood, and most of the
distinguished men of his time.
There are many portraits by Rigaud in the
Prench'provinoial galleries and private collections.
The following is a list of his paintings in the chief
public galleries in Europe :
Bale. Museum. Chevalier Luke Schaub.
Berlin. Museum. The Sculptor Bogaert.
Cassel. Gallery. Portrait of himself.
Dresden. Gallery. Augustus III. of Poland. 1715.
Florence. Uffizi, Bossuet.
„ „ Portrait of himself.
Geneva. Eath Museum, Duchess of Orleans.
Karlsruhe. Gallery. Louis XIV.
„ „ Portrait of himself.
„ „ Male portrait.
Lausanne. Artaud ) Augustus II. of Poland.
Museum. } Augustus III. of Poland.
,1 „ Portrait of himself.
„ „ Two other portraits.
Lisbon. Academy. Cardinal Polignac.
„ „ Portrait of a Cardinal.
London. Nat. Gal. Cardinal Fleury.
„ Nat. Far. Gal. Viscount Bolingbroke.
„ Dulwich Gallery, Louis XIV.
„ „ Boileau.
Madrid. Museum. Louis XIV.
Munich. Pinakothek. Duke Christian HI., of Zwei-
briicken.
Paris. Louvre. The Presentation in the
Temple.
„ „ St. Andrew. 1700.
II „ Philip V. of Spain.
„ ,1 Louis XIV. 1701.
» „ Bossuet.
I) „ Maria Serre, the Painter's
Mother (a double portrait).
II „ The Sculptor Martin van den
Bogaert (Desjardins).
II „ Le Brun and Mignard.
>i II The Architect J. H. Mansart.
Two unidentiiied portrait
Groups.
Petersburg. Hermitage. Fontenelle.
Stockholm. Gallery. Charles XII. of Sweden.
II II Cardinal Fleury.
Versailles. Gallery. Mignard.
II ,1 Boileau.
Bigaud
Versailles.
PAINTERS AND ENGRAVERS.
Rijn
Gallery. Portrait of himself.
„ „ Louis XV,
„ „ The Dauphin Louis, &o., &c.
Vienna. Gallery. Duchess Elizabeth Caroline of
Lorraine.
„ „ An Ecclesiastic.
0. J. D.
RIGAUD, John Peancis, an historical and por-
trait painter, born at Turin in 1742, was descended
from a French Protestant family. He, however,
came in 1772 to England, after travelling through
Italy and France, where he practised his art. He
was elected an Associate of the Royal Academy in
1772, and in 1784 a full member. His admission
picture, which represented ' Samson breaking his
bonds,' was much admired. He was employed by
Boydell for the Shakespeare Gallery, and he also
painted several sacred and historical subjects. But
besides this he decorated several ceilings, among
which was that of the Court Room in the Trinity
House, Tower Hill. He also painted two altar-
pieces, one for the parish church at Packington,
and another for the church of St. Martin-Outwich
in London. He translated into English and pub-
lished Leonardo da Vinci's ' Treatise on Painting,'
with illustrative copper plates. He was found
dead in his bed at Packington Hall, the residence
of Lord Aylesford, his patron, on December 6th,
1810.
RIGAUD, Jean, a relation of Hyacinthe Rigaud,
born in Paris about the year 1700, painted land-
scapes, which, if we may judge by his prints,
must have possessed considerable merit. He
appears to have passed some time in England, as
he has etched some views in the environs of
London. We have several plates by him, executed
in a spirited and masterly style, and the figures
correctly and neatly drawn. The following are
Iiis principal prints :
A pair of Views of Marseilles, at the time of the Plague
in 1720.
A set of six Views of the Chateau and Gardens of Marly.
The Garden of the Tuilleries.
A View of the Palace of the Luxembourg.
A View of Hampton Court.
St. James's Park.
Greenwich Park.
Greenwich Hospital.
A set of six Landscapes, with figures.
A set of six Views in France, with rural amusements.
Twelve marine subjects.
He had a son, Jean Baptistb Rigaud, who
engraved a view of the Palais Bourbon, after his
father.
RIGAUD, Stephen Francis, son of John Francis
Rigaud, and an English water-colour painter, was
born in the latter part of the 18th century. He
studied in the schools of the Academy, where he
first exhibited in 1797, and in 1801 gained the
gold medal by his ' Clytemnestra and Agamem-
non.' In 1804 he became one of the original
members of the Water-Col our Society, where he
exhibited till 1813, when he, Chalon, and others
seceded. But little is known of his subsequent
life, though it appears that he exhibited at the
Society of British Artists as late as 1851. There is
a water-colour picture by him at the Kensington
Museum of ' Telemachus discovering the priest of
Apollo.' We may also name :
Satan in the Bower of Adam and Eve. 1805.
Martha and Mary. 1806.
Sin and Death. J 807.
Invasion of France in 1813. 1814.
David sallying out against Goliath. 1815.
RIGHETTI, Mario. This painter was born at
Bologna about the year 1590, and was a scholar of
Lucio Massari. He painted several pictures for the
churches of his native city, which are noticed in
' Le Pitture di Bologna.' The best are the follow-
ing: 'The Archangel Michael,' in the church of
S. Guglielmo ; ' Christ appearing to the Magdalen,'
in S. Giacomo Maggiore ; ' The Adoration of the
Magi,' in S. Agnese; and the 'Nativity,' in S.
Lucia.
RIGOT, Jean, a friar of the Abbey of St. Pierre
de Melun, was an illuminator and miniaturist of
the 15th century. In the ' Bibliotheque Nationale '
there is a Latin missal of the year 1489 attributed
to him.
RIGOULDTS, or Righolz. See Thielew.
RUN, Rembrandt Harmensz van, was born at
Leyden, July 15, 1607. He was the son of a
miller named Harmen van Rijn, and of his wife
Neeltjen, the daughter of a baker, Willem van
Suytbrouck. The paternal home stood close to the
" White," the western gate of Leyden, and immedi-
ately behind the mill, which crowned the rampart.
In Vosmaer's ' Life of Rembrandt,' the details of his
family tree, and of his parents' condition in the
world, are elaborately set out. Rembrandt was
the fifth of six children, but his parents were com-
fortably off, and determined that he should have a
good education, should attend the Latin sfehool, in
order that, as Criers puts it, " he might in the ful-
ness of time be able to serve his native city, and
the Republic, with his knowledge."/ But such
studies as these were not at all to the boy's taste,
and before he had been long awicjorises with Latin,
his father became convinced that his inclination
for art would have to be allowed its way. The lad
was consequently placed in the studio of Jacob
van Swanenburch, a respectable painter, and a
member of an old Leyden family. With him
Rembrandt stayed three years and made good pro-
gress, giving such promise of future excellence
that in 1622, when he was only fifteen, he was
removed to the more famous studio of Pieter Last-
man, at Amsterdam. Lastman had visited Italy,
and painted crowded religious pictures, and was
just such an artist as would be sure to have an
attraction for ajnan like the miller Harmen, with
his visions of advancement for his fifth son.
Rembrandt, however, only remained six months
with his new teacher. In 1623 he returned to his
home at Leyden, and is supposed to have worked
there steadily for seven years. His earliest extant
picture has long been supposed to be the ' St. Paul
in Prison,' of the Stiittgart Gallery, signed and
dated JR.H. 1627 ; but perhaps one still earlier has
come to light. This is the carefully studied por-
trait of a young girl, signed and dated iJem* 1625,
and there seems to be no good reason to doubt its
authenticity. In 1628 Rembrandt received Gerard
Douw as his pupil, and two years later migrated to
Amsterdam, where he lived for the rest of his life.
Not much of the work he did before 1630 has come
down to us, at least under his own name, but after
that date his pictures and etchings become numer-
ous. In 1632 he painted his first corporation pic-
ture, the great ' Lesson in Anatomy ' ; and in 1634
he wedded his first wife, Saskia van Ulenburgh.
The Ulenburghs were a good Friesland family,
one or two of whose members had already married
into art and literature. At the time of her mar-
riage Saskia was twenty-two years of age, and her
husband twenty-seven. She has become famous
379
Rija
A BIOGRAPHICAL DICTIONABY OP
Rijn
through the many portraits, "in character" and
otherwise, which Rembrandt painted and etched.
Rembrandt's mother, who had also been frequently
his model, died in 1640, leaving her painter son a
small fortune, which went, most likely, in the pur-
chase of the large house in the Breed Straat, at
Amsterdam, in which he lived for many years, and
of pictures and other works of art to fill its rooms.
In 1642, the ' Night Watch,' as the sortie of the
Militia Company of Prans Banning Cock has long
been called, was produced. In June of the same
year Saskia died, and was buried on the 19th in
the Oude Kerke of Amsterdam. She had borne
Rembrandt four children, but only one, Titus, was
alive at her death, and he was but a few months
old. By Saskia's will, this son Titus was made
her heir, the enjoyment of her property being
secured to Rembrandt, however, during his life,
and its reversion falling to him in case of Titus
dying before his father. The will also directed
that if Rembrandt became absolute owner of the
heritage through the death of his son, and should
then marry again, he should cede one-half of Sas-
kia's property to her sister Hiskia. For the due
fulfilment of these provisions Saskia expressly for-
bade any legal security to be taken, " because she
had confidence that he (Rembrandt) would behave
in the matter in exact obedience to his conscience."
About this time, most likely, began the friendship
between the painter and Jan Six, afterwards, but
not until Rembrandt had been twenty-two years in
his grave, Burgomaster of Amsterdam. Six was
born in 1618, and was therefore twenty-two in
1642. He acquired some repute as a savant and
poet at a very early date, married Margaret Tulp,
the daughter of Nicholas Tulp, and the ci-devant
Hancie of no less a person than Jan de Wit. The
portrait of Six's mother, by Rembrandt, is dated
1641, so that Vosmaeris no doubt right in making
the acquaintance between the two men begin about
the time the painter was at work on the ' Night
Watch.' The etching known as 'Six's Bridge'
was done in 1645, and the 'Portrait of Six,' the
dry-point, in 1647. The famous unfinished picture,
still in the house on the Herren Grracht, in which ,
Jan Six is shown hat on head and gloves half
pulled on, for a walk, dates from the year 1666.
This was a disastrous era in the painter's life.
In 1654 Rembrandt had been the cause of some
scandal to the good folks of Amsterdam, through
his relations with one Hendrickie Jaghers, his
servant, who was reprimanded by the Presbytery
for her conduct with her master. She bore Rem-
brandt a daughtei:, whom he acknowledged, and to
whom he gave the name of Cornelia. Two years
later, in the month of July, 1656, Rembrandt was
declared insolvent, and fourteen months later still
most of his goods were dispersed. The greater
part of his collection of prints and drawings was
sold in September, 1658. After things were all
settled up, Titus received as his heritage a sum
equivalent to about £280, and Rembrandt was left
to begin life anew. There is much obscurity as to
his doings in these latter years. By some it has
been suggested that he actually married Hendrickie,
and that his pecuniary troubles were caused by the
stipulation in Saskia's will, which made half his
property transferable, on a second marriage, to her
sister Hiskia. It is more likely, however, that he
remained a widower until 1665, when he married
one Catharina van Wijck.
After the sale of his house in the Breed Straat,
380
Rembrandt took one on the north side of the
Rozengraoht, at the west end of the city. There
he lived with his son Titus, until the latter married
and moved to the Singel, to a house in which he
lived but a few months. Por in March, 1669, this
last of Saskia's children sank into a premature
grave, and on October 8th of the same year his
father too was buried in the Westerkerke, leaving
behind him, as the simple register of burial records,
two children. One of these may have been Cor-
nelia, the daughter of Hendrickie Jaghers, but
more probably they were both the legitimate ofE-
spring of his second wife.
Rembrandt's pupils were numerous. In his
early period they included Gerard Douw, Bol,
Plinck, Backer, De Wedt, and De Poorter. Some
few years afterwards this list was increased by the
names of Victors, Eeckhout, and Philip Koninck.
About 1640, La Veoq, Ovens, Paudiss, Verdoel,
Heerschop, Drost, Karel Pabritius, and Hoogstra-
ten were the principal occupants of the little rooms
at the top of the house in the Breed Straat which
the painter filled with his scholars. Later still
their places were taken by Maes, Renesse, DuUaert,
Willemans, Mayr, Wulfhagen, G. Ulenburgh, and
Aart de Gelder.
Rembrandt was the greatest artistic individu-
ality of the 17th century. He excelled in every
branch of painting to which he seriously turned
his hand, while he took up an art which before
his time had been humble and insignificant, and set
it upon a pedestal round which artists have been
crowding, in hopeless emulation, ever since. As a
painter he was equally great in conception and in
execution ; his hand was the skilful, sympathetic
servant of a commanding imagination. It is the
same with his etchings. Technically they are still
unequalled, while in rich dramatic suggestion no
man has yet approached them. In the great Rem-
brandt van Rijn the school of Holland has a more
than worthy head.
The following list of his extant and accessible
works, as nearly as possible in chronological order,
/is founded mainly on that of Vosmaer. ■^_a_
1625 ? Portrait of a Young Girl. (Signed eem"'' and
dated.)
1627. St. Paul in Prison. {Signed eh./ and dated.) Stutt-
gart Gallery.
1629. St. Jerome in a Grotto.
1630. Philosopher (or Lot) in a Grotto (known only by
Schmidt's engraving, which is inscribed eh. v.
EIJN PINX. 1630).
Portrait of an Old "Hasi. Cassel Gallery.
Head of an Old Man. Do.
Head of a Young Man. (Engraved by Valentine
Green as a portrait of Prince Kupert.) Hague
Museum.
The Jew Philo. Jnnspruck Musenm,
Head of a Man. {Signed he.) ?
Portrait of (?) himself. Grosvenor Souse,
1631. Simeon in the Temple. {Signed eh. and dated.)
Hague Museum.
Saint Anastasius. {Signed and dated.) Stockholm
Gallery.
St. Peter in Prison. {Dated.)
Holy Family. (Signed Eembrandt f. and dated.)
Munich Gallery.
Lot and His Daughters. (A design, engraved by
J. G. van Vliet.)
The Baptism of the Eunuch. (Do. In the Olden-
burgh Museum there is a picture by Van Vliet
in which exactly the same composition is re-
peated.)
Portrait of a Young Man. (Signed eh. and dated.)
Windsor Castle,
Portrait of a Man. {Signed Eembrandt f., with the
B^n
PAINTERS AND ENGRAVERS.
RijH
date 1631, over which 1632 has been painted )
Brunswick Gallery.
A Eabbi. Formerly in the King of Holland's Collec-
tion.
Old Womaa seated in an aim-chair ; called the
Prophetess Anna. (Signed RH. and dated.) Col-
lection of the Errand Duke of Oldenburg.
Portrait of a Young 'Woman.
1632. The Lesson in Anatomy. (Signed Bemlrandt, ft.
1632.) Hague Museum.
The Kape of Proserpine.
The Bape of Europa (?).
The Finding of Moses.
Bust of a Yoimg Man. (BH. van Bijn, 1632.)
JDulmck Gallery.
Portrait of a Man. (BH. van Bijn, 1632, se. 40.)
Seillieres Collection.
Portrait of Matthijs Kalkoen. (BH. van Bijn, and
dated.) Same Collection.
Portrait of Maurits Huygens. (BH. van Bijn, and
dated.) Herr Wesselhoeft, Hamburg.
Portrait of Lieven WUlemsz van Coppenol. (Signed
BH. van Bijn.) Cassel Gallery.
Male Portrait. Hermitam Gallery,
An Aged Oriental. (BH.f., and dated.)
Portrait of an Old Man. (BH. van Rijn, and dated.)
Bust of a Young Woman. (BH. van Bijn, and
date.) Vienna Academy.
Portrait of a Young Woman, called a Sasbia.
(BH. van'Rijn, and the date.) Stockholm Museum.
Two Portraits in the Vienna Gallery, a Man and
a "Woman.
Portrait of a Lady. JSridgewater Gallery.
Two portraits formerly in the Wynn Ellis Collection.
1632 Portraits of Jan Pellicome and his Wife. (Signed
to Bembrandtf.) Sir Bichard Wallace, Bart.
1634. Portrait of Nicolaas Buts.
Portrait of Martin Looten.
1633. Susanna and the Elders. Yonssawpoff Collection,
Fetershurg.
Baising the Cross. Munich Gallery.
Descent from the Cross. (Bemlrandt, 1633.) Munich
Gallery.
The Good Samaritan. Sir Bichard Wallace, Bart.
The Boat of St. Peter, (Bembrandt f, and date.)
H. T. Hope, Esq. (?).
Philosopher in Contemplation. (B. van Bijn, and
dated.) Louvre.
Same subject, with variations. Louvre.
Pliilosopher in his Study. Brunswick Gallery.
The Ship-builder and his Wife. (Bembrandt /.,
and dated.) Buckingham Palace. '
Portrait of a Lady. (Bembrandt f, and dated.)
Brunswick Gallery.
A Double portrait, Man and Woman. H. T. Hope,
Esq. (?).
Portrait of Saskia. Cassel Gallery.
Portrait of Saskia. (Bembrandt /., and date.)
Dresden Gallery.
Portrait of the Poet Jan Harmensz Krul. (iJem-
brandt, and date.) Cassel Gallery.
A Male Portrait, bust, perhaps N. Tulp. (Date
only.) Seillieres Collection, Paris.
A Female portrait, pendant to the last. Same
Collection.
Portrait of Bembrandt, known as ' The Officer.'
(Bemhrandt, f.) Hague Museum.
Portrait of a Man, called Bembrandt himself.
(Bembrandt f, and date.) Louvre.
Portrait of himself. (Bemlrandt /., and date.)
Berlin Museum.
Portrait of himself. (Date only.) Pitti Gallery,
Florence.
Male Portrait. (Bembrandt /., and date.) Cassel
Gallery.
Portrait of an Old Woman. (On the left ae suae
83; on the right Bembrandt ft., ai^A the date.)
National Gallery.
Young Woman with Flowers. (Bembrandt /.)
Hermitage.
Portrait of Admiral Phillippus van Dorp. (Bem-
brandtf.)
Portrait of Bembrandt. (Bembrandtf., and date.)
Louvre.
Portrait of Willem Eurggraef. (Bembrandt ft.,
and date.) Dresden Gallery.
Portrait of a Young Woman. {Bemlrandt f.,a,-adi
date.) Stadel Museum, Frankfort.
Portrait of a Young Man. (Bembrandtf, and date.)
Late Pourtales Collection, Paris. t
Portrait of a Young Boy. (Bemlrandt f., and date.)
Late James de Bothschild's Collection, Paris.
Portrait of a Man. Goiha Museum.
1634. Queen Artemisia. (Bembrandt /., and date.)
Madrid Museum.
The Incredulity of St. Thomas. (Bembrandt f, and
date.) Hermitage.
The Great Descent from the Cross. (Bembrandtf.,
and date.) Hermitage.
Portrait of Martin Day. (Bemlrandt ft., and date.)
Late Van Loon Collection.
Portrait of Mr. Ellison and his Wife. (Bembrandt
ft., and date.) Late Schneider Collection.
(Many more portraits were painted in this year,
1634, which cannot now be identified or dis-
covered.)
1635. Sacrifice of Abraham. (Bembrandt f., and date.)
Hermitage.
Samson threatening his Father-in-Law. (Bemlrandt
f, and a date which has been variously read
1635-7 and 9 ; Vosmaer prefers th'e first, which
is supported by the style of the work.) Berlin
1636.
The Bape of Ganymede. (Bemlrandt fc, and date.)
Dresden Gallery.
Calisto. Prinze Salm, Anhalt.
Babbi. (Bemlrandt f., and date.) Hampton Court.
An Officer. (Signed and dated.) Fitzwilliam
Museum, Cambridge.
Old Man with Moustache. (Bemlrandt pinx., and
date.) Cassel Gallery.
Portrait of a Young Woman. Stadel Museum.
Portrait of a Woman (Vosmaer says Saskia). Dal-
keith Palace.
Portrait of Bembrandt. Liechtenstein Collection,
Vienna.
Portrait of a Young Man. Sir B. Wallace, Bt.
Capture of Samson. Cassel Gallery.
A ' Biposo.' Berlin Gallery.
The Ascension. Munich Galwry.
The Eeturn of the Prodigal. [BH. Bijn.) Hermitage
Danae. (Bembrandt f, and date.) Hermitage.
A Lady and Gentleman in a Landscape. (Bem-
brandt p., and date.) Comte de Vence,' Paris.
Portrait of an Old Jew. (eh./.) Hermitage. •
A Winter Landscape. (Signature doubtful.) Cassel
1638.
1639.
View of Amersfoort. Berlin Museum.
The Master of the Vineyard. Hermitage.
The Angel leaving Tobit's Family. (Bembrandtf,
and date.) Louvre.
Same subject with Variations. Sir George Womb-
well, Bt.
Susanna at the Bath. (Bembrandt f, and date.)
Hague Museum.
Portrait of himself. Louvre.
Portrait of a Man. Bridgewater Gallery.
Portrait of himself. Buckingham Palace.
Portrait of a Man. Hermitage.
Portrait of Eleazar Swalmius. Lord Dudley.
The Marriage of Samson. (Bemlrandt /., 1638.)
Dresden Gallery.
Noli me Tangere. (Bembrandt f.,&rxiA&te.) Buck-
ingham Palace.
Joseph telling his Dream. (Bemh'andt f, and
illegible date.) Six Collection, Amsterdam.
Portrait of an Old Man. Louvre.
Bembrandt with Saskia on his lap. (Bemlrandt f.)
Dresden Gallery.
Warrior with Helmet. Brunswick Gallery.
Joseph's Brothers announcing his Death to Jacob.
Earl of Derly.
Same subject. Hermitage.
The Eesurrection. (Bemlrandt.) Munich Gallery.
The Entombment. (Bemlrandt.) Munich Gallery.
The Entombment. (Bemlrandt f., and date.)
Dresden Gallery.
Huntsman with Bittern. Dresden Gallery.
381
Kijn
A BIOGRAPHICAL DICTIONARY OP
Bijn
Eembrandt's Mother. {Rembrandt /., and date.)
Vienna Gallery.
Eembrandt's Mother. Hermitage.
Portrait of a Man. {Remhrandt ft., and date.)
Cassel Gallery.
1640. Dismissal of Hagar.
Holy Family. Uffid, Florence.
The Salutation. {Rembrandt /., and date.) Gros-
venor House.
The Carpenter's Household, or Family of Joseph.
{Remhraifuitf., and date.) Louvre.
Descent from the Cross. Duke of Abercorn.
Portrait of himself. [Remlrandt f. 1640, conter-
fen/ct.) National Gallery.
Portrait of himself. Jhike of Bedford.
Portrait of himself. Sir R. Wallace, Bart.
Portrait of a Young Man. 'Sir R. Wallace, Bart.
Male Portrait. Duke of Portland.
Portrait of the painter Doomer (?), commonly
known as ' Le Doreur.' {Rembrandt /., 1640.)
Late Be Morny Collection, now in America.
Portrait of an Old "Woman. {Rembrandt f., 1640
or 1646.) Late at San Donate; Narishkine Col-
lection.
Portrait of a Young "Woman. Count von Luckner.
Small Landscape. Munich.
1641. The Angel leaving Samson's Parents. {Rembrandt
/., 1641.) Dresden Gallery.
Landscape with Boaz and Euth. Berlin Museum.
Susanna and the Elders. Louvre.
The Jewish Bride. {Rembrandt /., 1641.) Count
Casimir Lanchoronski, Vienna.
Portrait of Anna "Wijmer, wife of Jan Six. Six
Collection.
Portrait of Anslo and his "Wife. Lord Ashhurnam.
Portrait of Saskia. Dresden Gallery.
The Lady with a Fan. Buckingham Palace.
Male Portrait. Brussels Museum.
Portrait of a Young Man. Lord Ashhurton.
1642. The Night-"Watch. {Rembrandt f, 1642.) Amster-
dam Museum.
The Eeeonciliation of Jacob and Esau. Feterhoff,
Portrait of Saskia. Antwerp Museum.
Portrait of a Young "Woman, {Remlrandt 1642 or
1643.) Berlin Museum.
Portrait of a Young "Woman. Lord Lansdowne.
Portrait of a Young "Woman. Cassel Gallery.
Portrait of a Girl with a Crook. Harrach Collection,
Portrait of Eembrandt. Buckingham Falace.
1643. Bathsheba at the Bath. {Rembrandt /., 1643.)
Steengracht Collection, Hague.
Diana and Endymiou. Liechtenstein Gallery,
Vienna.
Old "Woman weighing Money. Dresden Gallery.
"Wife of Martin Day. Late van Loon Collection.
Old "Woman, called ' Eembrandt's Mother.' Her-
Portrait of himself. Zate Prince Henry of the
Netherlands.
The ' Man with the Falcon.' Grosvenor House.
Portrait of a "Woman. Grosvenor House.
Portrait of a Young Man. Dresden Gallery.
Landscape. Oldenburg Gallery.
Hilly Landscape. Sir R. Wallace, Bart.
1644. The "Woman taken in Adultery. {Rembrandt /.,
1644.) National Gallery.
Portrait of a Young Man. Panshanger.
1645. Tobit and his "Wife. {Rembrandt f, 1645.) Berlin
Museum.
The Angel in Tobit's House. Oldenburg Gallery.
Mary and Joseph warned by the AngeL Berlin
Museum.
Holy Family. Hermitage.
The Tribute Money.
The Burgomaster Pancras and his Wife. Buck-
ingham Palace.
Portrait of a Man. Hermitage.
A Girl at a "Window. {Rembrandt ft., 1645.) Dul-
wich Gallery.
A Jew Eabbi. Berlin Museum.
1646. Abraham receiving the Angels. Hermitage.
Another example of this subject, highly praised
by Smith, cannot at present be traced,
382
Adoration of the Shepherds. National Gallery.
Adoration of the Shepherds. Munich Gallery.
Holy Family. Cassel Gallery.
1647. The Eesurrection. Augsburg.
Portrait of Ephraim Bonus. J. P. Six.
Portrait of Olaes Berchem. Grosvenor House.
Portrait of the Wife of the last-named. Grosvenor
House.
Portrait of Eembrandt. Dresden Gallery.
1648. The Good Samaritan. Louvre.
The Pilgrims to Emmaus. Louvre.
Christ at Emmaus. Copenhagen Gallery.
1645- Descent from the Cross. Grisaille. National Gallery.
50. The "Unmerciful Servant.
Portrait of an Old Lady. Massaloff Collection,
Moscow.
Eembrandt at the age of about forty-three. Leuch-
temberg Collection, Petersburg.
1649. Portrait of Turenne. Panshanger.
Vertumnus and Pomona. itradscMn Collection,
Prague.
1650. Anna the Prophetess, {^gned and dated.) Bridge-
water Gallery.
Samuel taught by his mother Hannah. {Rem-
brandt f.) Hermitage.
The Denial of St. Peter. Hermitage.
Portrait of Coppenol. Bath House, Piccadilly.
Young Woman in Bed aottd looking through the
curtains. Lady Mildmay.
1650 ? Bust of a Young Man. Sir R. Wallace, Bart.
Landscape with Mountains. Cassel Gallery.
• ' Landscape with Mountains. Dresden Gallery.
1651. Noli me Tangere. Brunswick Gallery.
Portrait of Admiral van Tromp.
Portrait of a Eabbi. National Gallery.
Portrait of a Young Man. Sir R. Wallace, Bart.
Portrait of a Man. Louvre {La Caze).
1653. Portrait of one ' Hooft.' Lord Brownlow.
1654. Bathsheba. {Rembrandt ft., 1654.) Louvre.
Joseph accused by Potiphar's Wife. Hermitage.
Woman Bathing. {Rembrandt f, 1654.) National
Gallery.
Portrait of an Old Eabbi. Dresden Gallery.
Portrait of an Old Man with a White Beard.
Dresden Gallery.
Portrait of a Woman. Louvre.
Portrait of an Old Woman. Hermitage.
1655. Jesus presented in the Temple. GrisaUle. Formerly
in the Collection of Jeremiah HarTnan.
Interior of a Stable with the Carcase of a Bullock
hung to the Beams, Louvre.
Portrait of himself. Sir R. Wallace, Bart.
Portrait of a Kan with a Cuirass. Cassel Gallery. -
Standard-Bearer of the Civic Guard. Cassel Gallery. .
Standard- Bearer. Late James de Rothschild, Paris.
1656. Jacob blessing the sons of Joseph. Cassel Gallery.
John the Baptist Preaching. Lord Dudley.
The Master of the Vineyard. Stddel Museum.
The Lesson in Anatomy by Dr. J. Dayman. Frag-
ment in the Amsterdam Museum.
Portrait of Dr. Amoldus Tholinx. M. Andre,
Paris.
Three Male Portraits. Cassel Gallery.
Portrait of Jan Six. {Unfinished.) iSix Collection,
Amsterdam.
Young Woman. Hermitage.
Bust of a Man. {Rembrandt van Bijn, pinxii,
1656.)
Portrait of himself. Zeipsic Museum.
HiUy Landscape. Brunswick Gallery.
1657. Adoration of the Magi. Buckingham Falace.
Portrait of himself. Dresden Gallery.
Portrait of himself. Cassel Gallery.
Portrait of Catherine Hoogsaet, or Hoogh. Salt-
marsh Castle. 1842.
Portrait of a Man with a Grey Beard. National
Gallery.
Portrait of a Young Girl. Hermitage.
1658. Lucretia.
Male Portrait. Louvre.
,^ Portrait of Bruyningh. Cassel Gallery.
Male Portrait (Thomas Jacobsz Haring). Late
John Wilson Collection.
Four Male Portraits. Vienna Gallery.
Rijn
PAINTERS AND ENGRAVERS.
Rijn
Portrait of himself. Liechtenstein Collection.
1659. Moses breaking the Tables of the Law. Berlin
Museum.
Jacob wrestling with the Angel. Berlin Museum.
Portrait of himself. Bridyewater Gallery.
Portrait of himself. Lord Carrington.
1660. Bcce Homo. Aschaffenhurg.
St. Francis. Lard Wemyss.
Portrait of a very Old Woman. Late Lord Over-
stone.
Portrait of Bembrandt, Louvre.
Portrait of Bembrandt. Lord Lansdowne.
1631. The Syndics of the Cloth Hall. Amsterdam
The Circumcision. Lord Spencer.
Jesus. Sir Bethel Codrington, Bart.
St. Matthew. Louvre.
Jansenins. Lord Ashiurton.
Old Man with a White Beard. Fitti Gallery.
Old Man with a White Beard. Hermitage.
1662- The Oath of John Ziska. Stockholm Museum.
3. The Jewish Bride. Amsterdam Museum ( Van der
Hoop Collection).
Family Portraits. Brunswick Gallery.
Male Portrait. National Gallery.
1664. Death of Luoretia. Late Munro Collection (?).
The Man with the Pistol.
1666. Lucretia. Sir George fVombwell, Bart.
Portrait of himself. National Gallery.
Portrait of a Woman. (More likely the work of
Maes.) NaiionaZ Gallery.
Portrait of Jeremiah Decker. Hermitage.
1667. Joseph going to meet Jacob.
Three Portraits.
1668. The Flagellation. Darmstadt Museum.
Three Portraits of himself. {Lord Kinnaird, Fitti
Gallery, and M. Double, Faris.)
The following list of Rembrandt's etchings is
arranged in the order given by Vosmaer ; over the
authorship of many there have been and still are
disputes, into the rights of which we cannot here
enter; many are certainly not by Rembrandt.
1628. An Old Woman's Head, seen only to the chin.
Head of an Old Woman, lightly etched. {Rem-
brandt's mother.)
Head of a Woman, on the right side of the plate.
(Possibly a sketch for the preceding.)
1629. Bembrandt. A bust. (Supposed to have ieen en-
graved on einc.)
St. Jerome. An outline.
St. Jerome seated, with a large book.
1630. The Presentation, with the Angel. (Simeon in the
Temple.)
The Circumcision. A small upright plate.
Christ disputing with the Doctors.
Two Beggars, a man and a woman, coming from
behind a bank.
Two Beggars, a man and a woman, conversing.
A Beggar standing to the left. A small upright
plate.
A Beggar sitting on a hillock, with his mouth open.
A Man standing, towards the right.
Portrait of a Man with a broad-brimmed hat.
Head and bust, full-face, looking from behind a wall.
An Old Man sitting on a chair, and wearing a high
cap. (The Jew, Fhilo.)
Profile of a bald Man, with a jewelled chain.
Head resembling former. (Smaller and more
stooping.)
Profile of a Man, bald-beaded, and coarsely etched.
An Old Man, with a large beard.
An Old Man, with a large beard, the shoulders
lower than the ears.
An Old Man, a bust shaded only on the right.
Bembrandt, in a fur cap and light dress.
Bembrandt, with an air of grimace.
Bembrandt, with bushy hair, and a small white
collar.
Bembrandt, with haggard eyes.
„^- Bembrandt, a full face laughing.
Bembrandt, with an open mouth.
Bembrandt, with a broad nose.
Bembrandt, a small head, stooping.
Bembrandt, with curly hair, risiug into a tuft over
his left eye.
Bust, the features resembling Bembrandt, with a
jewel in the cap.
1631. Diana bathing.
Jupiter and Danae.
Small full-length figure of a Beggar in a large
cloak.
The Bathers.
The Blmd Fiddler.
The little Polander.
Lazarus Klap ; or, the Dumb Beggar.
A Woman beneath a tree.
A Bagged Peasant, with his hands behind him.
A Beggar, with a crippled hand.
A Beggar Woman, with a leather bottle.
Two Venetian Figures.
A Peasant, with his hands behind him.
Bust of a bald Man, with his mouth open.
Bust of a bald-headed Man, with a large nose.
An Old Woman, wearing a dark head-dress with
lappets.
Bust of an Old Man, with a long beard.
Head and Bust, the head nearly filling the upper
right of the plate.
Bust of an Old Man, with a large beard. A square
plate.
A Man, with a short beard and embroidered cloak.
Bust of an Elderly Man, with a cap and robe of fur.
A Beggar, sitting in an elbow chair.
An Old Beggar seated, with a dog by his side.
Bust of an Old Man, in a very high fur cap.
Bembrandt's Mother, in a black dress. A small
upright,
Bembrandt's Mother, seated, looking to the right.
Bembrandt's Mother, in a widow's dress. (Omitted
by Vosmaer.)
Bembrandt's Mother, her hand resting upon her
breast.
Portrait of Bembrandt, with broad hat and em-
broidered mantle.
Bembrandt, with a round fur cap, full face.
Bembrandt, with bushy hair.
Bembrandt, with a fur mantle or cape.
Bembrandt with a cap and robe of fur.
Sketches, with so-called " Head of Bembrandt."
Bembrandt, with very small black eyes.
Bembrandt, in a conical cap. In an oval.
Bembrandt. The plate an irregular octagon.
Bembrandt,. with a soft round cap. (' L'homme ci
trois crocs.')
1632. The Besurrection of Lazarus. The large print.
(Certainly not by Rembrandt.)
Christ's Body carried to the Tomb.
St. Jerome Imeeling. An arched plate.
The Bat-killer.
The Eat-kiUer. An injured plate.
The Persian.
A Man on Horseback.
A Woman's Head.
Portrait of Coppenol. The smaller plate.
llhe Cottage with the White Pales.
Head of an Old Man, with dark eyes.
1633. The Flight into Egypt.
The Good Samaritan.
The Descent from the Cross. (There are two etch-
ings of this subject; the first, of which only three
impressions are knmon, failed in the biting, and
was probably all by Rembrandt. The second plate
is nearly of the same size, and but slightly altered
in design.)
Adverse Fortune.
Portrait of Jan Cornells Sylvius.
An Old Woman, etched no lower than the chin.
(Rembrandt's mother.)
Bembrandt, with a scarf round his neck.
Bembrandt, in a fur cap and dark dress.
Bembrandt with the Bird of Prey.
Bembrandt, with bushy hair and strongly shaded.
1634. Joseph and the Wife of Potiphar.
The Angel appearing to the Shepherds. A night
effect.
The Samaritan Woman ' at the Buins.'
383
Eijn
A BIOGRAPHICAL DICTIONARY OF
Bijn
Our Lord and the Disciples at Bmmaus. A small
print.
Two sketches of Beggars, with an inscription
beneath each.
' The Great Jewish Bride ' (Sasltia).
Study for the Great Jewish Bride.
A Young 'Woman reading.
Rembrandt's Wife, with pearls in her hair.
Kembrandt, with moustaches and small beard.
Eembraudt, with bushy hair. The head nearly fills
the plate.
The Head of Eembrandt, and other studies.
Kembrandt, with a drawn sabre.
Portrait of a Man with a sabre.
Landscape, with a Cow, and Buins by the Sea.
1635. Jesus Christ driving out the Money-changers.
The Tribute Money.
The Martyrdom of St. Stephen.
St. Jerome, kneeling.
The Mountebank.
The "Woman making Pancakes.
A "Woman sitting upon a hillock.
Portrait of Johannes Uijtenbogaerd.
Three Heads of Orientals.
The Crucifixion. A small square plate.
The Travelling Musicians.
St. Peter healing the Paralytic.
A Polander, walking towards the right.
A Polander, turned to the left. Full-length.
An Old Man, with a bushy beard. Full-length.
The "White Mooress.
A Young Man, in a mezetin cap,
A Man with a rufE and feathers.
An Old Man, with a short straight beard.
Two small Figures, unfinished.
, ., ' ' A Beggar warming his hands over a chafing dish.
L Grotesque Head, in a high fur cap.
An Old Man, with a large white beard and fur cap.
Old Man, with a grey beard.
An Old "Woman, sleeping.
Grotesque Head of a Man, crying out.
A Sheet of Sketches, afterwards divided into five.
A Landscape, with a hay waggon.
Sketch of a Dog.
1636. Jesus Christ disputing with the Doctors.
The Prodigal Son.
F)oce Homo.
An arched Landscape, with a flock of sheep.
Peasant carrying Milk-paila.
A House by the side of a Canal.
Portrait of Menasseh Ben Israel.
Eembrandt and his "Wife.
Eembrandt's "Wife, and five other heads.
Three Heads of "Women, Saskia at the top.
1637. Abraham sending away Hagar and Ishmael.
A Young Man, seated.
An Old Man, wearing a rich velvet cap.
Three Heads of "Women, one asleep.
1638. Adam and Eve.
Abraham caressing Isaac.
Joseph telling his Dreams.
The St. Catharine, or ' The Little Jewish Bride '
(Saskia).
Eembrandt, in a mezetin cap and feather.
Eembrandt, in a flat cap, and slashed vest.
The Little Dog, sleeping. The first state of this
plate is unique: it is in the British Museum.
1639. The Presentation in the "V"aulted Temple.
The Death of the Virgin.
Youth surprised by Death.
"Wittenboogaert ("Uijtenbogaerd), called 'the Gold-
weigher.'
Eembrandt leaning upon a stone sill.
1640. A Jew with a high cap. A full-length.
A Physician feeling the Pulse of a Patient.
The Decapitation of St. John the Baptist.
The Triumph of Mordecai.
The "V"irgin mourning the Death of Christ.
A Holy Family, ' The Virgin with the Linen.'
The Crucifixion. Oval plate.
The dying Saskia.
The Skater.
A Young "Woman with a basket.
An Old Man, with a divided fur cap.
384
The Ball.
The Canal. A landscape of irregular form.
Btwn The Adoration of the Shepherds. A night piece.
1632 The Flight into Egypt,
and A Eepose in Egypt. A night effect.
1640. St. Jerome in Meditation.
A Peasant, with his hands behind him.
Two Women in separate Beds, &c.
Beggars standing.
Three Beggars ; a man, a woman, and a child.
A ragged Peasant, with his hands behind him.
A Beggar with a wooden leg.
An Old Man lifting his hand to his cap.
An Orchard, with a bam.
A Landscape, with a cow drinking.
The Coach Landscape.
Bust of an Old Man asleep.
An arched Landscape, with an obelisk.
1641. Jacob and Laban ; or. Three Figures of Orientals.
The Angel leaving Tobit and his Family.
The Virgin and Child, in glory.
Philip baptizing the Eunuch.
The Schoolmaster.
The Star of the Kings.
The Large Lion Hunt.
A Small Lion Hunt, with a lioness.
A Lion Hunt.
A Battle Scene.
A Beggar standing and leaning upon a stick.
Portrait of Cornells Claesz. Anslo.
Portrait of a Boy, half-length.
Portrait of a Man, vrith a crucifix and chain.
A Man playing Cards.
A View of Amsterdam.
Landscape with a Cottage and Dutch Hay-bam,
Landscape, with a Mill-sail.
' Eembrandt's Mill.'
1642. The Eesurrection of Lazarus. A small plate.
The Descent from the Cross. A sketch.
St. Jerome writing, seated near a large tree.
St. Jerome in Meditation.
The Spanish Gipsy.
The Flute-player.
The Friar in the Corn-field.
The Shepherds in the Wood.
A Man in an Arbour.
1643. Sketch of a Tree, &c.
The Hog.
The Three Trees.
1644. The Shepherd and his Family.
1645. Abraham conversing with Isaac,
A Eiposo. In outline.
An Old Man with his hands upon a book.
Portrait of Jan Cornelis Sylvius. Oval.
< J 'Eembrandt. On a high and narrow plate.
Six's Bridge.
The Omval, near Amsterdam.
Landscape, with a man sketching.
A Village, with a river and sailing vessel.
The Boat-house, called ' The Grotto.'
1646. A Figure, formerly called ' The Prodigal Son.'
A Man seated upon the ground.
' Academies ' of Two Men.
An aged Beggar.
' Ladekant.'
1647. Portrait of Jan Six.
Ephraim Bonus.
Jan Asselyn.
Doctor J A. Van der linden.
1648. A Jew's Synagogue.
Medea ; or, the Marriage of Jason and Creusa.
An Allegorical Piece : ' the Phoenix.'
Beggars at the Door of a House.
Doctor Faustus.
Eembrandt drawing from a Model.
Eembrandt drawing.
Two Beggars, a man and a woman, side by side.
Two Beggars ; a half-length and a head.
The Sick Beggar and his Wife.
A Dealer in Old Clothes.
A Beggar by the Eoadside, a woman in the distance.
1650. St. Jerome ; an unfinished piece.
Jesus Christ appearing to His Disciples.
The Shell, or ' the Damier.'
Bijn
PAINTERS AND ENGRAVERS.
Killaert
A Young Man with a Game Bag.
The Three Cottages.
A Village, vf ith a square tower ; arched.
Landscape, with a canal and swans.
The Sportsman.
Landscape, with a canal and large boat.
Landscape, with a ruined town and clear foreground.
Jesus Christ healing the Sick. 'The Hundred
Guilder Print.'
St. Peter and St. John at the Gate of the Temple.
An Old Man sitting at a table.
The Two Houses with Pointed Gables.
The House with Three Chimneys.
1651. Tobit blind, with the Dog.
Tobit blind, seen from behind.
The Flight into Egypt. A night effect.
Clement de Jonghe.
The Goldweigher's Field.
1652. King David on his knees.
Jesus disputing with the Doctors. The larger plate
Jesus Christ preaching. The smaller ' La Tombe.'
Three Peasants travelling.
Landscape, with a Vista.
1653. Landscape, with an old square tower.
1654. The Circumcision with the cask and net
The Nativity.
The Flight into Egypt : crossing a brook.
The Flight into Egypt.
The Holy Family ; with the Serpent.
Christ with the Doctors. A smaller print.
Christ and His Parents returning from Jerusalem.
The Descent from the Cross. A night piece.
The Entombment.
The Supper at Emmaus.
St. Jerome reading, at the foot of a tree
The Little Goldsmith.
The Game of Kolf .
Portrait of Titus, Rembrandt's son.
1655. Four prints for ' Piedra Gloriosa.'
Jesus Christ in the Garden of Olives.
Abraham's Sacrifice.
Our Lord before Pilate.
The Three Crosses.
St. Peter.
Thomas J. Haring, known as ' Young Haring.'
Jacob Hariug, known as ' Old Haring.'
Abraham Francen.
1656. Abraham entertaining the Angels.
Johannes Liitma.
Dr. Arnoldus Tholinz.
1657. St. Francis, praying.
The Presentation in the Temple.
Jesvis and the Samaritan Woman ; arched.
A Semi-Nude Woman before a stove.
1658. A Woman preparing to dress after bathing.
A Woman, with her feet in the water.
A Naked Woman lying down.
1659. Jupiter and Antiope.
Peter and John at the Gate of the Temple.
Landscape, with Palisades.
1661. Naked Woman with an Arrow.
Portrait of Coppenol. A large plate.
The following etchings are considered by Vos-
maer as of uncertain date ; many are of doubtful
authenticity.
The Draughtsman.
A Woman in a Veil.
An Old Woman's Head.
An Old Woman Heading.
Bust of a Young Man ; lightly etched.
A Man, with curhug hair, his under lip thrust out.
Bust of a Man, turned to the left.
Man, with a large beard and low fur cap.
Bust of an Old Man, in profile ; to the right.
A Man's Head.
Small Head, with a high mis-shapen cap.
Head of a Bald Old Man, inclined to the left.
Three Profiles of Old Men.
Profiles of Old Men.
Old Man, with a pointed beard.
Head of a Man, with curls and moustache.
A Large Tree and a House.
Landscape, with the figure of a little man.
VOL. II. C C
A Fisherman, in a boat.
The Village Street.
A Copse and Paling, with studies of a horse, &o.
BIBLIOGEAPHT.
C. Vosmaer, ' Eembraudt, sa vie et ses ceuvres ' (1877).
J. Burnet, ' Eembrandt and his Works ' (1849, foho :
1859, 8vo). * ' '
P. ScMtema, ' Eedevoering over het leven en de ver-
diensten van Rembrandt van Eijn.'
D. Daulhy, ' A Catalogue of the Works of Eembrandt '
(1796).
E. F. Gcrsaint, ' Catalogue raisonnS de toutes les es-
tampes qui ferment I'ceuvre de Eembrandt ' (last
edition, 1880).
J. Janitsch and A. Sicktwark, ' Stiche undEadirungen
von Eembrandt ' (1885).
C. H. MiJdleton, * A Description of the Etched Work
of Eembrandt van Eijn ' (1878).
F. Seymour Baden, ' The Etched Work of Eembrandt :
a monograph ' (1879).
M. E. Dutuit, ' L'oeuvre complet de Eembrandt : di^crit,
et reproduit i, I'aide de I'h^liogravure ' (1881).
Ch. Mane, ' L'oeuvre complet de Eembrandt, d&rit et
comments, &c. (1873, 4to ; 1880, folio).
H. Saltan, 'Eembrandt und seine Gemalde in der
Kaiserliohen Eremitage «u Petersburg ' (1876).
' Catalogue of the Etched Work of Eembrandt ' (Bur-
lington Fine Arts Club, 1877).
RILEY, John, born in London in 1646, received
instructions from Isaac Puller and Gerard Zoiist.
He was little noticed till after the death of Sir
Peter Lely, though he is justly described by
Walpole as one of the best native painters that
had then flourished in England. His talents were
obscured by the fame, rather than the merit, of Sir
Godfrey Kneller, and have been since depressed
through his best works being ascribed to Lely. Riley
was of an amiable and rather diffident character, and
was easily put out of conceit with his own works.
Charles II. sat to him, but almost frightened the
poor artist out of the profession by crying, when
he saw the picture, ' Is this like me ? Then,
odd's fish, I'm an ugly fellow.' James II. and his
queen also sat to him, as did their successors,
William and Mary, who appointed him their painter.
Among his portraits may also be named those
of Lord Keeper North and Bishop Saunderson.
Jonathan Richardson was married to a near relation
of Riley, and profited by his will. Riley died in
London in 1691, and was buried in Bishopsgate
Church. The following portraits by liim are in the
National Portrait Gallery :
Bishop Burnet.
James II.
William, Lord Eussell.
Edmund Waller.
Lord Crewe, Bishop of Durham.
RILLAERT, Jan van, the elder, painter, was a
native of Louvain, where he was working in 1628.
In 1547 he became painter to the corporation, and
director of the 'Omgang.' In 1549 he designed
the principal decorations for the ' Joyeuse Entree'
of Philip II., and he was also employed upon the
blazons for the funeral service of the Emperor
Charles V. In 1660 he decorated the sheriffs'
room in the town-hall. He also executed numerous
works for churches and convents in his native
town. He practised engraving, and several plates
still exist, engraved upon copper, and signed with
his initials. By his wife, Madeleine du Vivier,
he had one son, Jan, q. v. He died in 1568.
Among his works are the following :
Louvain. H6tel de Ville. Four Panels painted on both
sides as follows '•
1. The Fall of Simon Magus.
385
Killaert
A BIOGRAPHICAL DICTIONAEY OF
Bioult
Saint Margaret and the Dragon.
2. Defeat of the Mahometans.
The Deliverance of St. Peter.
3. The Miraculous Draught of
Fishes.
Christ bearing His Cross.
4. Decapitation of St. Catharine.
Calvary.
Loviv&m. Ch-o/StPierre. Consecration of St. Evartius,
Bishop of Orleans.
Vienna. The Assumption.
RILLAERT, Jan van, the younger, was the son
of the last-named, and probably his pupil. He
married a rich wife, Marie Claes, and after a
sojourn in Denmark returned to Louvain and
settled there. The dates of his birth and death
are uncertain. No mention of him occurs in the
town archives after 1691. In 1588 he was com-
missioned, jointly with the painter Leonard van
Marienbergh, to determine the value of the painting
by Mabuse, which the town of Louvain wished to
buy from the Augustine Order for presentation to
the King of Spain. In the church of St. Pierre, at
Louvain, there is a ' Resurrection ' by liim.
RIMINALDI, GiROLAMo, painter, brother of
Orazio, practised at Pisa in the early part of the
17th century. He survived his brother, whose last
work he completed. As a painter he was greatly
inferior to Orazio.
RIMINALDI, Orazio, born at Pisa in 1698, was
first a scholar of Aurelio Lomi, but afterwards
studied at Rome under Orazio Lomi, called Gentil-
eschi. During a residence of some years at Rome,
he studied from the great Roman masters, and also
from the antique. On his return to Pisa he distin-
guished himself as one of the most promising artists
of his time. He followed, in the early part of his
life, the principles of Michel-angelo Caravaggio,
which he soon after abandoned for those of
Domenichino. He painted several pictures for
the churches of Pisa, one of which, ' The Martyr-
dom of St. Cecilia,' has since been placed in
the Florentine Gallery. In the cathedral are two
Scripture subjects by him, representing tlie
'Brazen Serpent,' and 'Samson destroying the
Philistines.' His last work was an ' Assumption of
the Virgin,' which he did not live to finish. Rimi-
naldi died of the plague in 1630.
RIMINI, PiBTBO UA, lived in the early part of
the 14th century, and is the author of a ' Cruci-
fixion ' at Urbania, near Urbino. Paintings in S.
! Maria Portofuori in Ravenna are attributed to
him.
RINALDO, DoMENioo, painter, called Rinaldo
Mantovano, practised at Mantua, about 1550, and
was a pupil of Giulio Romano. His works show
great promise, but his career was cut short by a
premature death. At Vienna there is a ' Triumph
of Julius Caesar ' by him, and two pictures in the
National Gallery, ' The Capture of Carthagena and
Continence of Scipio,' and the ' Rape of the Sabine
Women, with the subsequent reconciliation between
the Romans and Sabines,' are now ascribed to him
instead of to his mastei-.
RINALDI, Santo, called IlTeomba, an excellent
painter of battles, landscapes, and architecture,
born at Florence about 1620, was a scholar of
Furirii. Though he painted much, and was eminent
in his day, very little of his history is recorded.
It is supposed that he died in 1676.
RINCON, Antonio del. See Del Rincon.
RINCON, Fernando del. See Del Rincon.
RING, Herman Tom, the son and pupil of
386
Ludwig Ring, the elder, born at Miinster in 1521.
Like his father, he is chiefly known by one work —
a ' Resurrection of Lazarus,' which was painted in
1546 for the cathedral at Miinster ; in it the traces
of Italian influence are plainly marked. It is good
in colour and highly finished. Of his other works
we may name : 'Christ on the Cross,' ' Christ heal-
ing the Sick,' ' Christ on the Cross, with Mary,
Joseph, and donors,' ' St. Luke and St. John,'
' Christ in Gethsemane,' ' Christ and the Apostles,'
which are in Miinster, and twelve Prophets and
Sibyls in the Gallery of Augsburg. He died in
1599.
RING, LuDGEB Tom, the elder, the founder of a
family of Westphalian artists, who flourished in
the 16th century, was bom at Miinster in 1496.
He is chiefly known by an ' Intercession of Christ
and the Virgin (with the donor by their side) for
the world, which is about to be destroyed by
God.' It is dated 1538_, and executed in a simple
and dignified manner, in the style of the early
German painters. In the Museum at Miinster
there are also, ' A Man and his Wife,' a half-length
' Portrait of a Man,' and a ' Madonna.' He died in
1547.
RING, LuDGER Tom, called the younger, to dis-
tinguish him from his grandfather Ludwig Ring
the elder, bom at Miinster in 1622, was the son
of Herman Ring, and painted homely domestic
subjects, but he has also left some portraits, and
in the Berlin Museum is a 'Marriage at Cana,'
dated 1562. Ring died in 1583.
RING, PiBTER DE, an admirable painter of sub-
jects of still-life, flourished about the middle of
the 17th century. If not a native of Holland, he
practised his art there, as most of his pictures are,
or were, confined to that country, though the
Dutch writers seem to know nothing of his history.
In 1648-9 he was inscribed on the registers of the
Leyden guild of St. Luke, and was still painting in
that town in 1660. In the Museum at Amsterdam
there is a picture by him, representing >. table
covered with blue velvet, on which are various
kinds of fruit, oysters, and other shell-fish. He
was a successful follower of Jan D. de Heem. He
generally introduced a ring as his signature. In
the Berlin Museum there is a picture by him,
signed with his name and dated 1650, representing
a globe, a book in which is the picture of a man
blowing soap-bubbles, an hour-glass, dice, musical
instruments, &c.
EINGE, Christoph Gottfried, painter, bom at
Bernburg, 1713. He died mad in 1797. His
pictures, which are rare, betray bis mental dis-
ease.
RINGLY, GoTTHAED, or Gottfried, (Ringgli,)
painter and engraver, was born at Zurich in 1575.
All that is known of his life is, that he was employed
by the authorities of Berne to paint some pictures
relative to the history of that city, and that the
Painters' Guild ineffectually attempted to prevent
him painting. Of his etchings, ' David playing the
Harp,' and his illustrations of Joshua Maler's
' Gutjahr fiir alle Christen,' are well known. They
are marked with a cipher composed of the letters
e. R. Ringly died in 1635.
RIOULT, LoDis Edouard, painter, born at Mont-
didier, October 26, 1780. He was a pupil of
Regnault and of David, and painted classical and
historical subjects,but he was particulariy successful
in studies of girls bathing, &c., of which he painted a
large number. Among his works are the following :
Bipanda
PAINTERS AND ENGRAVERS.
Bivalz
Girl playing with a Zephyr.
Siege of Ostend. [At Versailles.)
Leda.
Diana.
The Death of d'Assas.
A Scholar giving his breakfast to a poor man.
Uo died in 1855.
RIPANDA, GiACOMO, an obscure painter of the
15th century. He studied in Rome, and practised
portrait painting towards the close of the century.
RIPOSO, Felice. See Ficheeelli.
RIPPINGILLE, Edward Villiers, an English
subject painter, born at King's Lynn in 1798. He
was self-taught as an artist, and first practised at
Bristol, exhibiting at the Royal Academy from
1819. His subjects were taken from English
rural life until he visited Italy in 1837, when for
some years his inspiration was Italian. In 1841
he paid a second visit to Italy. He delivered
lectures on art, and devoted much attention to
literature, contributing to various periodicals. He
died suddenly at Swan village railway station, near
Birmingham, in 1859. Amongst his pictures are :
Liverpool. Corporation Gall. Portrait of Dr. Raffles.
London. Bridgewater House, A Brigand's Wife.
South Kensington. Museum. Mendicants of the Cam-
pagna.
Enlisting.
Scene in a Gaming-house.
A Country Post-office.
A Becruiting Party.
Going to the Fair.
Stage-coach Breakfast.
Progress of Drunkenness. {A series of six pictures.)
RIQUIER, L., a Flemish subject painter, born
in 1795 at Antwerp, where he studied under Van
Bree. After visiting Italy he settled in Paris.
Amongst his works are :
Brussels. Museum. A Family of Brigands.
Haarlem. Museum. Bubens presenting Adrian Brouwer
to his "Wife.
RISING, John, an English subject and portrait
painter, born about the middle of the 18th century.
He practised in London, and exhibited at the
Academy from 1785 to 1814. Amongst his works
are :
Herts. Hatfield House. Portrait of First Marquis of
Downshire.
Oxford. Bodleian Library. Portrait of Sir W. Black-
stone. 1781.
RISS, Fkahqois, painter, born at Moscow in
1804. He was a pupil of Gros, and practised in
France. He exhibited at the Salon between 1831
and 1866. At Versailles there is a portrait of
Henri Frangois D'Aguesseau, Chancelier de France,
by him ; and at the Ministry of the Interior a ' St.
Vincent de Paul at Marseilles,' and ' Feast in the
house of Simon the Pharisee.' His wife, Pauline,
was also a painter.
RIST, Gottfried, engraver, a native of Stutt-
gart, was a pupil of Johann Gotthard Miiller in
the early part of this century, and engraved the
following plates :
Death of Baphael ; after Riepenhausen.
Apollo among the Herds, and Abraham's Sacrifice;
after Schick.
Ariadne ; after Dannecker.
Job; after Wdchter.
King Frederick of Wiirtemburg ; after Seele.
Queen Charlotte Matilda of "Wiirtemburg ; after Stirn-
brand.
RIST, Johann Christoph, a. landscape painter,
born in Stuttgart in 1790, was first a confectioner
in Stuttgart and Vienna, in which latter city he
C C 2
entered the Academy. In 1816, and again in
1823, he was premiated. The death of his brother
Gottfried caused him to leave Italy, and go to
Augsburg. From 1830 to 1840 he worked in
Munich, and gave drawing lessons; later on he
became the head of the drawing school at Augs-
burg. He died at Augsburg in 1886.
RISVENNO, GinsEFFo, (or Risdeno, Josef,) a
Spanish painter, born at Granada about the year
1640. He was a scholar of Alonso Cano, under
whom he studied both painting and sculpture. He
painted history with some reputation ; and there
are several of his works in the churches of his
native city. The most important is the decoration
of the cupola of the Carthusians. Risvenno died
at Granada in 1721.
RITRATI, Francesco db'. See Negri, G.
RITT, AuGUSTiN, a Russian painter, born at St.
Petersburg. He studied at Antwerp, under De
Quertemont, and practised in Russia in the 18th
century.
RITTER, Abeaham db, amateur, born at Haar-
lem in 1668, devoted himself chiefly to water-
colour sketches and studies of rustic life. He
died in 1738.
RITTER, Eduaed, still-life and genre painter,
born at Vienna in 1808, where he was a pupil of
the Academy. Among his works we may name :
' In the Wine-cellar,' ' The Workman,' ' The Last
Farthing,' ' The Farewell of the Journeyman.' He
died at Vienna in 1853.
RITTER, G. N., painter, born at Heilbronn, in
1748. He settled at Amsterdam, where he prac-
tised miniature and portrait painting. He died at
Amsterdam in 1809.
RITTER, Henry, painter, born at Montreal in
Canada in 1816, went when young to Hamburg,
where he received some instruction from Groger.
In 1836 he entered the Academy at Diisseldorf
under Sohn, and studied under Jordan. He died
at Diisseldorf in 1853.
RITTER, Louisa Charlotte, the daughter of
G. N. Ritter, practised in the manner of her father
with some success. She died in 1813.
RITTIG, Petbe, painter, born at Coblentz in
1789, studied at Paris under David, but afterwards
went to Rome to work under Overbeck. His
pictures show talent and sobriety of judgment.
He died at Rome in 1840. Works :
A Madonna with Angels.
Allegory of the 96th Psalm.
The Visit of Pope Paul III. to Miohel-angelo.
RITUS, Michael. This name is affixed to an
etching representing the Virgin Mary and the
Infant Christ ; after A. Caracd, dated 1647.
RIVALZ, Antoine, born at Toulouse in 1667,
was the son of Jean Pierre Rivalz, a painter and
architect of some celebrity, by whom he was
instructed in the rudiments of art. He after-
wards visited Paris, where he did not remain long,
but went to Rome in search of improvement.
During his residence in that capital he was the
successful candidate for the prize given by the
Academy of St. Luke, for a 'Fall of the Rebel
Angels.' After studying the works of the best
masters, he returned to Toulouse, where he passed
the remainder of his life. He possessed an extra-
ordinary talent for copying the works of Italian
masters. As he lived so far from the capital, few
of his works are to be met with in Paris. His
pictures are chieiJy confined to Toulouse, where
he died in 1735. He left a great number of draw-
387
Bivalz
A BIOGRAPHICAL DICTIONARY OF
Bobart
ings, wliich are executed with great freedom, in a
style resembling that of Raymond de la Fage ;
also a few spirited etchings, among which are the
following :
The Martyrdom of St. Symphoriamis.
An Allegory of Vice driven away by Truth ; in memory
of N. Poussin,
Four Allegorical plates for a treatise on Painting, by
Dupuy du (xrez.
RIVALZ, BAETH^LEMy, the nephew and pupil
of Antoine Rivalz, born at Toulouse in 1724. We
have by him a few etchings, among which are the
following :
The Fall of the Rebel Angels ; after Ant. Rivalz.
Judith and Holofernes ; after the same.
Joseph and Potiphar's Wife ; after the same.
The Death of Mary Magdalene ; after Betiedetlo Luti.
RIVALZ, Jean Pieree, the elder, painter and
architect, was born at Bastide-d'Anjou, in Lan-
guedoc, in 1625. He was a pupil of Ambroise
Frideau, and the father of Antoine Rivalz. He
died in 1706.
RIVALZ, Jean Pierre, the younger, painter,
was the son and pupil of Antoine Rivalz. He
practised historical painting in I'ranoe, and also
-visited Italy. He died in 1785.
RIVAROLA, Alfonso, called II Chenda, born
at Ferrara in 1607, was the most distinguished
scholar of Carlo Bononi. On the death of that
master he was engaged to finish the picture of the
' Marriage of the Virgin,' in the church of S.
Maria del Vado. There are several pictures of his
own composition in the churches at Ferrara, which
do honour to the school in which he was educated.
Such are his ' Baptism of St. Agostino,' in the
church dedicated to that saint, which he has em-
bellished with magnificent architecture; the 'Re-
surrection,' at the Teatini ; 'the Brazen Serpent,'
in S. Niccolo ; and the ' Martyrdom of S. Caterina,'
in S. Guglielmo. This promising young painter had
acquired a reputation as one of the ablest artists of
Ferrara, when he died in 1640.
RIVE, PiEERE LoDis, or DB LA RivE, landscape
painter, born at Geneva in 1753. His father de-
signed him for the church or the law, but at last
consented to bis following his own inclination. He
studied at Geneva uuder the Clievalier de Fassin, a
painter of Liege. He then visited Dresden, where
he received some instruction from Casanova, and in
1784 went to Italy for two years. He returned to
Geneva, and during the disturbances in his native
town, tr&velled in Switzerland and Savoy, painting
heroic landscape. His washed drawings have
much merit. He died in 1815.
RIVELLI, Galeazzo, called Della Barba, an
unimportant painter of Cremona, who flourished in
the 14th century.
RIVERA, J. A., a Spanish historical painter of
the 19th century. He became Director of the
Museum and of the Academy at Madrid, where he
died in 1860. His best known work, painted in
1836, is ' The Oath of the Prince of the Asturias.'
RIVERDITI, Maecantonio, a native of Ales-
sandria della Paglia, who received his education in
art at Bologna, where he painted some pictures for
the churches, in which he imitated the style of
Guide Reni. He also painted portraits with con-
siderable success. Of his historical works, the
most worthy of notice are his pictures of the ' Con-
ception,' in the church of the Padri Camaldolesi ;
and of ' S. Francesco di Paola,' in S. Maria de Fos-
cherari. He died at Bologna in 1744.
388
RIVIERE, Charles Philippe de la. See
La RIVIERE.
RIVIERE, William, an English painter, born
in London in 1806. He studied in the schools
of the Academy, where also he first exhibited in
1833. A cartoon by him was sent to the first West-
minster Hall competition. From 1849 his time was
devoted to teaching, first at Cheltenham, where he
was drawing-master to the College from 1849 to
1859, and then at Oxford, where be died in 1876.
He was ,the father of Mr. Briton Riviere, R.A.
RIVIERE, FRANgoLS, a painter of French birth,
who settled at Leghorn, in Italy, in the first part
of the 18th century. He painted many Turkish
subjects, consisting of dances and public cere-
monials. He painted much for the churches of
Leghorn and Pisa, and at one time his reputation
was very considerable in Italy. He died at
Leghorn at a very advanced age.
RIVOLA, Giuseppe, an Italian painter of little
note, who was a pupil of Ph. Abbiati, and died in
1740.
RIXMONT. See Raymond.
RIZI, Francisco, a Spanish painter, bom at
Madrid in 1608, was the son of Antonio Rizi, a
native of Bologna, who had accompanied Federigo
Zucoaro into Spain, but was instructed in the prin-
ciples of art by Vincencio Carducho. He was
the Spanish Fa presto. As he lived at a time, and
in a court, wlien and where the great merit of an
artist was to improvise, he was celebrated and
patronized as one of first-rate talent ; and in con-
sequence he became painter to Philip IV. in 1656,
which ofiice he continued to hold under Charles
II., who added to it the deputy-keepership of the
royal keys. A few years before he had been
appointed painter to the cathedral of Toledo, a
post of more importance to an artist, in a pecuniary
point of view, than that of painter to the king, as
it gave him the charge of all the existing works in
the cathedral, and insured to him the execution of
the greater part of what might be undertaken in
his time. His empty cleverness is responsible to
no slight extent for the decline of Spanish art.
Rizi died at the Escorial in 1685. Among his
works are :
The decoration, in 1648, with Pedro NuSez, of the
Theatre in the Alcazar of Madrid.
Religious Scenes in the Chapel of Antonio.
Scenery for the Theatre of the Retire.
Sketch for an altar-piece in the Sacristy of the Escorial.
The Auto-da-F6 of 1680. (In the Madrid Museum.)
A Portrait of a General of Artillery.
The AunuDciation.
The Adoration of the Magi.
The Presentation in the Temple.
RIZI, Fray Juan, painter, born at Madrid in
1595, was a brother of Francisco Rizi, and a pupil
of Mayno. In 1628 he entered the Benedictine
Order, studied in Salamanca, and became Abbot
of the Medina del Campo in Madrid, lie painted
several works for St. Juan Bautista in Burgos, St
Martin in Madrid, and Monte Cassino in Italy. In
the Madrid Museum is a ' St. Francis of Assisi ' by
him. He afterwards went to Rome, where he was
made an Archbishop by Pope Clement X. He
died at Monte Cassino in 1675.
RIZO. Francesco, (Rizzo). See Santa Cboce.
RIZZI. See Ricci.
ROBART, , said to have been a scholar of
Jan Van Hnysum, painted fruit, flowers, dead
game, and landscapes : he flourished about the
year 1770.
Bobatto
PAINTERS AND ENGRAVERS.
Robert-Fleury
ROBATTO, Giovanni Stefano, born at Savona
in 1649, studied at Rome in the school of Carlo
Maratti. He for some time painted historical
subjects with considerable reputation, and was
employed for some of the churches at Genoa.
One of his best works is ' St. Francis receiving
the Stigmata,' at the Cnppucini. He afterwards
abandoned himsielf to a fatal passion for gaming,
and his latter performances are hasty and careless
He died in 1733.
ROBELOT, PiEBEE, painter, born 1802. A
native of Lorraine, and pupil of Mansion. He
practised miniature painting in the first part of
the IQth century.
ROBERT, AuKfecE, (Aurelio,) architectural and
genre painter, born at La-Chaux-de-Fonds in 1815,
was originally a watch engraver, but in 1822 he
joined liis brother Leopold at Rome, and became
his pupil. In 1828 and 1829 he travelled with
Leopold ; and though they were separated for a
short time in 1831, they met again in Paris, and
Aurele followed his brother to Venice in 1833.
After the suicide of Leopold he returned to Paris,
where he stayed for some time copying liis
brother's pictures. In 1838 he returned to Venice,
where he stayed for five years, and then went to
Switzerland. There is a picture by him, in the
Berlin Gallery, of the 'Baptistery of St. Mark's,
Venice.' He died at Berne in 1871.
ROBERT, Charles, a Scotch engraver, born at
Edinburgh in 1806. He learned his art in the
Trustees Academy. His early works were chiefly
vignette portraits, but he was employed by tlie
London Art Union on its foundation, and produced
several excellent plates for its subscribprs. He
died at Edinburgh in 1872. Amongst his plates
we may also name :
The Expeotel Penny ; after A. Fraser.
The Rush-plaiter.s ; after Sir G. Hareey.
The "Widow ; after Sir W. Allan.
ROBERT, Fanny, painter, a native of Paris, and
a pupil of Girodet. She flourished about 1825, and
painted portraits and historical subjects.
ROBERT, Felicitas, Madame, painter. She
practised in Germany in the early years of the
19th century, and was the daughter of the Belgian
painter and engraver, Philip Tassaert, who died
in England in 1803. Her work was chiefly in
pastel. In the Dresden Gallery there are two
pictures by her, a ' Visitation,' after Rubens, and a
portrait of ' An Old Cook.'
ROBERT, Hubert, generally called Robert des
RcriNES, a painter and engraver, born in Paris in
1733. After learning the rudiments of design in
his native city, he went to Rome, where he passed
several years, and made accurate drawings from
the remains of ancient architecture. On his return
to Paris he was made a member of the Academy,
and his pictures were held in high estimation. He
has also left a series of eighteen spirited etchings,
among them a set of ten views, with buildings,
entitled ■ Les Soirfees de Rome.' In the French
Revolution he was deprived of his position, and
imprisoned for ten months ; but tliat did not
prevent his painting, and he produced a 'Taking
of the Prisoners by Torchlight in open Carts from
St. P^lagie to St. Lazare.' He obtained his freedom
through a mistake of his gaoler, another prisoner
of the same name being sent to the guillotine
instead of him. He died in Paris in 1808. The
Louvre possesses seven good examples of his
work.
ROBERT, Jean, was a pupil of J. 0. le Blond.
He has left some prints in colour, which possess
considerable merit. They are carried out, like
those of his master, by the use of four plates.
ROBERT, LE Long, generally called Fiaminso,
a native of Brussels, went to Piaoenza, where he
visited the school of Bonisoli, and later on took
Massarotti as his model. Of his works we find
'Scenes from the life of St. Theresa,' in St.
Sigismondo, near Cremona, in the style of Guido
Reni ; ' St. Anthony the Martyr ; ' and ' The Death
of St. Xavier,' in the cathedral of Piiicenza, which
is the best of his works. He died at Piaoenza
in 1709.
ROBERT, Louis Leopold, painter, born at I;a-
Chaux-de-Fonds, in the canton of Neufchatel, in
1794, at first entered a house of business, but his
love of art induced him to follow Charles Girardet,
the engraver, to Paris in 1810; from him he
learned engraving, and then entered the studio of
David. The cession in 1815 of Neufchatel pre-
. vented him from obtaining the Grand Prix
de Rome, as it is only awarded to those who
are natives of France, and under the French
Government, In 1814 he obtained a second prize
for engraving. Disappointed at his want of good
fortune, he returned home, and supported himself
by portrait painting, till a friend made it possible
for him to go to Rome, which he did in 1818. In
1831 he returned to Paris, but soon went back to
Italy ; this time to Florence, where an unfortunate
passion for Princess Charlotte Bonaparte kept
him, and on his return to Venice in 1835 he
committed suicide in a fit of despondency. Pic-
tures :
^&r\m. National Gallery. Sleeping Virgin.
Munich. Pinakothek. Woman of Procida and child.
Paris. Louvre. Eeturn from the Festival of
the Madonna dell' Arco.
„ „ £eapers in the Pontine
Marshes.
„ „ The Fisherman of Lugano.
„ „ Peasant Woman of the Cam-
pagna.
ROBERT, Nicolas, born at Langres in 1610,
excelled in painting animals, insects, and plants, in
miniature, and was employed by Gaston, Duke of
Orleans, in painting the most curious beaets and
birds in the royal menagerie. The results are
preserved in the National Library, Paris, in the
Recueil des Valins. He was also commissioned to
engrave his own drawings, in which he was assisted
by Abraham Bosse and Louis de Ch^tillon. In
collaboration with Girard Audran, he engraved
several plates of ornaments, from the designs of
G. Charmetton. See the Ahecedario de Marwtte,
vol. iv. pp. 408—411. He died in Paris in 1684.
ROBERT, Paul Ponce Antoine, called Robert
DE Seri, or R. DE Seis, a French painter and en-
graver, born in Paris about the year 1680, was a
scholar of Pierre Jacques Cazes, and afterwards
studied in Italy. On his return to Paris he painted
an altar-piece for the church of tlie Capuchins,
representing the ' Martyrdom of St. Fidelis,' which
is considered his principal work as a painter. He
etched several of the subjects executed in chiaro-
scuro, by Nicolas le Sueur, for the Crozat Col-
lection.
ROBERT-FLEURY, Joseph Niceolas, painter,
was born at Cologne, 1797, but was brought to
Paris by his parents at the age of seven, and
received his education in that city, studying for
389
Koberti
A BIOGRAPHICAL DICTIONARY OF
Roberts
a time under Horace Vernet, and later under
Girodet. After a term of study in Rome, he
finally settled in Paris, where he produced his
most _ important works. He was first brought
prominently before the public by a picture ex-
hibited in 1833j the subject of which was a scene
from the Massacre of St. Bartholomew. He sub-
sequently painted a good many pictures of the
same kind, showing an inclination to depict scenes
of horror and bloodshed ; but later his art took a
simpler and less tragic direction, with increased
success in result. In 1864 he was commissioned
to paint four pictures for the hall of the Tribunal
de Commerce in Paris, namely : ' The Installation
of the Judges, 1663;' 'The Proclamation of the
Trade Statutes of 1673 ; ' ' The Granting of the
Laws of Commerce by Napoleon I.;' and 'The
Visit of Napoleon III. to the new Tribunal de
Commerce.' Other well-known works by him are :
The Conference at Poissy. 1561. (Mus.N'at.LiJUcemhaurg.')
Clovis entering Tours. ( Fersaiiles.)
Baldwin of Flanders before Bdessa. ( Versailles.)
The Marriage of Napoleon III. (Senate Souse.)
Benvenuto Cellini in his atelier.
The Death of Titian. (Academy of Antwerp).)
Columbus.
Charles V. at S. Yuste.
Fire in the Ghetto. (Luxemlourg.)
Louis XIV.
Jane Shore. (JWus. Nat. du Luxembourg.)
He also painted several portraits of much merit.
He was member of various foreign Academies of
Arts, and received many decorations and medals,
both in France and in other continental countries.
His son Tony is a well-known historical painter
practising in Paris.
KOBERTI, Albert, painter, born at Brussels,
1811. He was a pupil of Navez, and painted
portraits and historical subjects. There are by
him, amongst other things, a ' Baptism of Christ '
and a • Review of a Chapter of the Golden Fleece
by Charles V.' He died in 1864.
ROBBRTI, DoMENioo, painter, born at Rome,
1690. The details of his life are unknown, but
there are in the Dresden Gallery four pictures of
ruins by him.
ROBERTO DA CIVITELLA. See Robebtus.
ROBERTS, David, a Scottish painter, born at
Stockbridge, Edinburgh, October 2nd, 1796. His
parents were in poor circumstances, but his father,
a shoemaker, remarking his strong artistic pre-
dilections, determined to give him a trade in
which his gift might have opportunities of develop-
ment. He was accordingly placed with one Beugo,
a house-painter and decorator, and, after a seven
years' apprenticeship, he turned his attention to
scene-painting. He was first employed by a
travelling company at Carlisle, and subsequently
obtained more regular work at the theatres of
Glasgow and Edinburgh. In 1822, whilst scene-
painter at the Theatre Royal, Edinburgh, he sent
several architectural pieces to the Edinburgh Ex-
hibition, and in the same year was engaged as
scene-painter to Drury Lane Theatre, and settled
in London. He afterwards left Drury Lane for the
rival house, Covent Garden, and in 1824 he became
a member of the Society of British Artists, and
exhibited at the SufEoIk Street Gallery. A first
visit to the continent took place about this time,
and his wanderings amongst the picturesque old
towns of Normandy resulted in his painting various
pictures during the next two years, introducing
some of the finest of their Gothic remains. In
390
IS'^S he sent his first picture to the Royal Academy,
' Rouen Cathedral,' but for some years after this
exhibited only at the SufEolk Street Gallery, until,
in 1836, he resigned his membership. His in-
creasing reputation now entitled him to seek the
honours of the Academy, and in 1839 he became
A. R. A., receiving the higher dignity two years
later. His journeyings in quest of subjects for his
art were very extensive, and he wandered through
most of the Western countries of Europe, also
visiting Syria and Egypt in 1838. Italy and
Austria he first saw in 1851. Towards the close
of his life he remained in England and painted
English scenes, his last work being a series of
views on the Thames, of which he had completed
six before his death. His productions divide them-
selves into three classes, identical with the various
influences under which he came. The pictures
dealing with scenes from Western Europe, and
painted before 1838, are after the Dutch manner,
broad in treatment and luminous in colour. After
his visit to the East he adopted a colder and
thinner style, and in his latest work these defects
were aggravated by an unpleasant blackness of
tone. His strength lies in his fine feeling for
architectural effect, artistic composition, and good
drawing of detail. His pictures were at one time
very popular, and in addition to his paintings he
made considerable sums by his published works,
of which the best known are his lithographed
' Picturesque Sketches in Spain,' ' Sketches in the
Holy Land and Syria,' and his ' Italy : Classical,
Historical, and Picturesque.' For some years he
also contributed drawings to the ' Landscape
Annual.' He was a member of various foreign
Academies, and was appointed one of the Com-
missioners for the Great Exhibition of 1851. On
November 26th, 1864, he had an apoplectic seizure
in the street, and died in the evening of the same
day. His Life has been written by James Ballantine.
Among his numerous works in oil and water-colour
we may mention :
London. 2fat. Gallery. Interior of the Cathedral,
Burgos.
„ „ Chancel of the Collegiate
Church of St. Paul at
Antwerp.
„ South Kensington. Entrance to the Crypt, Roslin
Chapel.
„ „ Old Buildings on the Darro,
Granada.
„ „ The Gate at Cairo called ' Bab-
el-Mutawellee.'
„ „ Interior of Milan Cathedral.
„ „ The Porch at Ecslin. 1845.
( Water-colour.)
„ „ Sketch of the opening cere-
monial of the luternatioual
Exhibition of 1851. (Do.)
„ „ Great Temple of Edfon, Upper
Egypt. 1838. (Do.)
„ „ The Pyramids, from the Kile.
1845. (Do.)
J, „ Gateway, Spain. (Do.)
II „ Alcazar of Carmona, Andalusia.
1833. (Do.)
1, „ Castle of Ischia. (Do.)
n „ Isola Bella, Lago Maggiore.
(So.)
n „ Interior of Eoslin Chapel.
1830. (1)0.)
„ „ Fontarabia, Spain. 1836. (Do.)
,. „ Church of St. Pierre, Caen.
1831 ? (So.)
,y „ March6 au BIS, Abbeville.
1825. (So.)
Roberts
PAINTERS AND ENGRAVERS.
Robetta
London. South Kensiruf- \ Interior of the Capilla de los
ton. j Reyes in the Cathedral of
Granada. (So)
„ City Gallery. Antwerp Cathedral.
» ,. Interior of St. Stephen's,
Vienna.
Edmburgh. Nat. Gallery. Home. Sunset from the Con-
vent of San Onofrio.
The following works are in private collections :
Rouen Cathedral.
Church of St. Germain, Amiens.
Interior of Milan Cathedral. {Dan. Thwaites, Esq.)
Obapel in the Cathedral of Dixmude, West Flanders.
(John Pender, Esg.)
Baalbek. ( W. S. Houldsworth, Esq. M.P.)
Ruins of Baalbek. (B. Brocklebank, Esq.)
Temple of the Sun.
Destruction of Jerusalem.
Jerusalem from Mount Olivet.
Rome. The Tiber.
Psestum. (JV. Eckersley, Esq.)
New Palace of Westminster. (C. Zucas, Esq.)
The Thames at Greenwich. (Do.)
ROBERTS, Edwaed Juhn, an English engraver,
born in 1797. He studied under Charles Heath,
with whom he worked many years, on the ' Annuals.'
His name does not often occur, as he was chiefly
engaged in etching the engraver's plates. He died
in 1865. Specimens of his art are to be found in :
Prout's ' Continental Annual.' 1832,
Roberts' ' Pilgrims ot the Rhine.'
Birket Foster's ' Rhine.'
ROBERTS, Henry, an Englisli engraver, horn
about 1710. There are some humorous prints,
large landscapes, &c. by him. One of his land-
scape plates, after T. Smith, of Derby, is dated
1743. He was a print-seller in Hand Court, Drury
Lane, and mostly confined his attention to plates
for which he might hope to find a ready sale at
small prices. He died before 1790.
ROBERTS, James, an English engraver, was
born in Devonshire in 1725. He engraved several
landscapes and views from the pictures of Richard
Wilson, George Barret the elder. Smith of Chiches-
ter, and others ; also ' Fox Hunting,' in four plates,
after James Seymour. Two small marine views
after Pillement. He died in London in 1799.
ROBERTS, Jambs, son of the last-named, was
born at Westminster about the middle of the 18th
century. He was awarded a prize at the Society of
Arts in 1766, and first exhibited at the Academy
in 1783. After practising some years at Oxford,
he settled at Westminster about 1794, and subse-
quently held the appointment of portrait painter
to the Duke of Clarence. In 1809 he published
some ' Lessons in Water-colour Painting,' which
is the last trace we have of him. Amongst his
works are :
London. Garrick Cluh. Mrs. Abingdon in the ' School
for Scandal.'
„ British Museum. A series of elaborate "VTater-
colour Drawings.
Oxford. Bodleian, Portrait of Sir John Hawkins.
1785.
ROBERTS, Thomas, an Irish landscape painter,
born at Waterford about the middle of the 18th
century. He studied under George Mullens, and
was patronized by the Duke of Leinster and by
Viscount Powersoourt. He died at Lisbon, where
he had gone for his health. His sister, a landscape
painter of some skill, was employed as scene-painter
in the Waterford theatre.
ROBERTS, Thomas Sawtellb, an Irish landscape
painter, born in the latter half of the 18th century.
He was the younger brother of Thomas Roberts,
the landscape painter, and at first studied as an
architect. Devoting himself to landscape painting,
he settled in London, and exhibited at the Royal
Academy from 1789 to 1818. Returning to Ireland,
he took a leading part, in 1823, in forming the
Incorporation of Artists in Dublin. 'There is at
the Kensington Museum a water-colour drawing
by him of St. John's Abbey, Kilkenny. He died in
1826.
ROBERTSON, Andrew, a Scottish miniature
painter, was born at Aberdeen in 1777. When
young he had some instruction in art from Alex-
ander Nasmyth, but he did not neglect Iiis general
education, graduating at Aberdeen University.
Making his way on foot to London in 1801, he
attracted the notice of Benjamin West, whose
portrait he painted, and completed his art-training
in the schools of the Academy. His ability pro-
cured him a large practice ; he was patronized by
the royal family, and became the foremost niioia-
ture painter of his day. In 1815 he made a
tour in France and Italy. Of a kindly nature, lie
took great interest in several charitable associa-
tions, and was one of the founders of the Artists'
Benevolent Institution. His love of art was not
confined to painting ; he had a great liking for
music, and was an excellent amateur performer on
the violin. He retired from his profession in 1841,
and died at Hampstead in 1845. Two of his
brothers, Archibald and Alexander, emigrated
successively to New York, where they achieved
some success as painters. The latter was a pupil
of Samuel Shelley.
ROBERTSON, Charles, an Irish miniature
painter, the younger brother of ' Irish Robertson,'
who practised in Dublin about the end of the 18th
century. Coming to London, he exliibited at the
Royal Academy for some years from 1806 onwards.
Returning to Ireland, he took a prominent part in
the movement which led to the foundation of
the Royal Hibernian Academy.
ROBERTSON, George, born in London about
the year 1742, was instructed in design in Shipley's
drawing-school. His father, a wine merchant,
brought up his son to the same business. At
an early age, however, he went to Italy with
Beckford, where he chiefly studied landscape
painting, and produced some pictures which pos-
sessed considerable merit. He afterwards visited
the island of Jamaica, where he made several
drawings and pictures of views of that country,
some of which were exhibited in 1775. Not
meeting with the encouragement he expected, he
adopted the profession of a drawing-master, in
which he was more successful. He died in 1788.
We have a few landscape etchings by him from
his own designs.
ROBERTSON, Mrs. J., an English miniature
painter, and niece of George Saunders. She had a
good practice in London, and exhibited at the Royal
Academy from 1824 to 1844. She then migrated
to Russia, when she was elected a member of the
St. Petersburg Academy.
ROBERTSON, Walter, an Irish miniature
painter, known as 'Irish Robertson,' who prac-
tised in Dublin about the end of the 18th century.
In 1793 he departed to America with Gilbert Stuart,
after which he went to the East Indies, where he
died.
ROBERTUS DI ODERISIO. See Odebisio.
ROBETTA, engraver, who flourished in Florence
from about 1490 to 1520, worked after Filippo
891
Robineau
A BIOGRAPHICAL DICTIONARY OF
Bobinson
Lippi and Sandro Botticelli. His history is
wrapped in the greatest obscurity, but it appears
that twelve artists formed a club under the
appellation of Ln Gompagnia del Pajuola (the
company of the Stock-pot), and had pia-nic
suppers alternately at each other's lodgings. The
names of these associates were Gianfrancesoo
Riistici (the founder) ; Andrea del Sarto ; Spillo,
Pittore ; Domenico Puligo ; II Rohetta, Orafo ;
Ariatotile da San Gallo; Francesco di Pellegrino ;
Nioolo Boni ; Domenico Baooelli (who played and
sang excellently) ; II Solosmeo, Scultore ; Lorenzo
detto Guazzetto ; .wd Roberto di Filippo Lippi,
Pittore. By his being admitted a member of a
select club of eminent artists, it may be supposed
that he was of some celebrity before 1612. He is
called Orafo in the list of names, that word being
then used for Orefke, goldsmith ; but engraving
was part of a goldsmith's business in those days,
and ranked liim among artists. Robetta had an ex-
cellent fancy and composed with facihty, but his
technic is poor. In some of liis backgrounds borrow-
ings from Diirer may be recognized. Tlie follow-
ing is a hst of his prints :
SDBJEOTS ITBOM THE OLD TESTAMENT.
1. The Creation of Eve. Not signed.
2. Adam and Eve driven from Paradise. Not s'f/ned.
3. Adam and Eve, with Cain and Abel. Sit/ned KBTA.
4. Adam and Eve, with Cain and Abel. No mark.
5. Adam and Eve, with Cain and Abel. No mark.
SUBJECTS FROM THE NEW TESTAMENT.
6. The Adoration of the Kings. Sii/ned ROBETTA.
7. Ihe Nativity. Not signed, but nndoiibtedly hi.s worlc.
8. Jesus Christ baptized in the river Jordan. Signed
KBTA.
9. Jesus Christ taking leave of His Mother. Signed
RBTA.
10. The Resurrection of Christ. Signed RBTA.
11. The Virgin giving the breast to the Infant. Signed
ROBTA.
12. The Virgin seated in a landscape, &o. Signed RBTA.
13. The Virgin with Angels, &c. Not signed.
14. St. Sebastian and St. Roch, Not signed.
15. Faith and Charity with their attributes. Signed
RBTA.
MYTHOLOGICAL SUBJECTS.
16. Ceres with two goat-footed Cliildren. Signed
RBTA.
17. A young Man tied to a Tree, &o. Signed RBTA.
18. Venus surrounded by Cupids. Some traces of «
signature may be seen in a dark shadow.
19. Apollo and Marsyas. Signed RBTA.
20. Hercules between Virtue and Vice. Nol signed.
21. Hercules killing the Hydra. Signed KBTA.
23. Hercules and Antasus. Not signed.
23. The Lyrist. Signed RBTA.
24. An old Woman and two amorous Couples, &o. Not
25. A Man tied to a Tree by Cupid, &c. On a tablet
RORETTA (sic).
26. Mutius Scajvola. Signed RBTA.
The following six prints, the first five of which
are in the British Museum, are presumed to be by
Robetta, although they are without his mark.
The Sacrifice of Cain and Abel.
The Death of Abel.
Jupiter and Leda.
The Virgin and Child attended by St. Sebastian and the
Magdalene.
A Riposo. Formerly in the Duke of Buckingham's
Collection.
St. Jerome kneeling before a Crucifix.
ROBINEAU, G, a French portrait painter,
born about the middle of tlie 18th century. He
392
practised in Paris, where he afterwards held the
appointment of Inspector of Drawing Schools.
There is a portrait by him of Abel, the musician,
at Hampton Court, and one of George IV. when
Prince of Wales, in the Royal Collections. Both
are small full-kngths.
ROBINS, Thomas S. In 1839 he was nominated
one of the original members of the Institute of
Painters in Water-Colours, but resigned in 1866.
His marine and landscape jiictures were long a
feature of the exhibitions. Ho died in 1880.
Works :
London. '^. ^^-^^^*- 1 Calais Harbour.
„ „ Shipping — a Fresh Breeze.
„ „ Hay Barges off Reculver.
ROBINS, AViLLlAM, an English engraver in
mezzotinto, who flourished about the year 1730, by
whom we have a few portraits ; among others,
that of
William Warren, LL.D. ; after Heims.
ROBINSON, John, portrait painter, born at Bath
in 1715, came to London when ho was young, aud
entered the studio of John Vanderbank, under
whose tuition he reached considerable proficiency.
He afterwards distinguished himself as a por-
trait painter, and succeeded Jervas in his house
in Cleveland Court. For a time he was extensively
employed, though his colouring was faint and
feeble. He was accustomed to dress his sitters
in Vandyck costume. He died in 1745.
ROBINSON, John Henky, an English en-
graver, born at Bolton in 1796. He came to
London when young, and studied under James
Heath. His early practice included book illustra-
tion ; his best work in this line was for Rogers'
' Italy.' He attained great excellence in his pro-
fession, and was prominent in the agitation for the
admission of engravers to the Academy, of which
he was elected an associate in 1856, and a full
member in 1867. His method was line, in which
he contrived to get iicculiar richness. He married
a lady of property, and retired to Petworth, where
he died in 1871. Amongst his best plates are:
The Flower Girl ; after Murillo.
The Emperor Theodosius refused admission to Milan
Cathedral by Archbishop Ambrose ; after Van Dyck.
The Countess of Bedford ; after the same.
The Mother and Child ; after Leslie.
H. M. the Queen ; after Partridge.
Napoleon and Pius VII. ; after Wilkic.
The Wolf and the Lamb ; after Mulready.
Little Red Riding-Hood ; after Landseer.
ROBINSON, R., an English mezzotint engraver,
who practised in the latter half of the 17th
century. He chiefly engraved after his own designs,
and his works have mm-h merit. He died or re-
tired from practice about 1690. Amongst his
plates are :
Charles I. ; after Van Di/ck.
The Seven Bishops ; on one sheet, each in a small oval.
Charlotte, Countess of Lichfield.
James, Duke of Monmouth.
William, Prince of Orange.
Frances, Duchess of Richmond.
Sir James Worsley.
Diara and Actseon.
ROBINSON, Thomas, an English portrait painter
who practised in London early in the 18th century.
He lived in Golden Square. He studied for some
time in Italy, where he became a master of
Italian and a good musician. In his later years
he was afflicted with blindness, and was mainly
Bobinson
PAINTERS AND ENGRAVERS.
Bobusti
supported by the talents of his daughter, the
famous singer, Anastasia Robinson, who married
Lord Peterborough. Robinson died in 1755.
ROBINSON, Thomas, an English portrait painter,
born at Windermere, about the middle of the 18th
century. He studied under Romney, with whom
he lived for some years. Migrating to Ireland, he
practised at Belfast from 1801 to 1808, and was
patronized by Dr. Percy, Bishop of Dromore.
He tlien removed to Dublin, where he became
President of the Society of Artists, and died in
1810. There is a. ' Procession in honour of Lord
Nelson ' by him at the Harbour Office, Belfast.
Other works are :
Encounter between the King's Troops and Peasants at
Ballynahiuch.
The Giant's Causeway.
ROBINSON, William, an English portrait
painter, born at Leeds in 1799. He had to over-
come parental opposition and many difficulties,
before he could make his way to London and
enter first the studio of Sir Thomas Lawrence and
then the schools of the Academy. Returning to
his native town in 1823, he obtained a good local
practice, his chief patron being Earl de Grey.
He painted for the United Service Club, portraits
of the Duke of Wellington, Lord Nelson, George
III., and Sir John Moore. He died at Leeds in
1839.
ROBIONOI, De., a Flemish artist, who flourished
in the middle of the 16th century. The only
known works of this painter are three pictures at
Verviers, which seem to belong to the school of
Lambert Lombard. One of these is signed and
dated 1560.
ROBSON, Geoegb Fennel, an eminent land-
scape painter in water-colours, and native of Dur-
ham, was born in 1790. His taste for drawing
• displayed itself at a very early age, and Bewick's
book of ' Quadrupeds,' then lately published, be-
came, after nature, the favourite subject of his
study. It seems that he never received any
regular instruction in the rules of art, but that
all his Icnowledge was derived from observing
artists who came down to Durham to sketch the
scenery in its vicinity. At the age of sixteen,
with only five pounds in money, he left his father's
house and travelled to London. There he made
drawings, which he exposed in the shop window
of a carver and gilder, and sold for small sums.
By these means he not only supported himself for
twelve months, but was enabled to return the five
pounds he had received fi'om his father. He now
published a view of his native city, and the fimtls
derived from the speculation enabled him to visit
the Highlands of Scotland. He dressed himself as
a shepherd, and with his wallet at his back, and
Scott's ' Lay of the Last Minstrel ' in his pocket,
he wandered over the mountains in all seasons.
He left many transcripts of the beautiful scenery
of Loch Katrine and its neighbourhood. Though
especially inspired by the grandeur of the High-
lands, he did not confine himself to Scotland, but
visited the Lakes of Cumberland and Westmore-
land, made himself familiar with North Wales, and
crossed over to Ireland to depict the beauties of
Killarney. He was a constant exhibitor with
the Water-colour Society ; on one occasion he
contributed no less than thirty-eight drawings.
Robert Hills, who lived for a time in the same
house, inserted animals, especially deer, in some
of his drawings. Robson died in London, Sep-
London.
tember 8, 1833. It was supposed that his death
was caused by something poisonous in the food on
the ' James Watt ' steamship, in which he had
travelled from London to Stockton-on-Tees in the
last days of August. Works :
„ „ Loch Achray.
„ „ Loch Coruisk, Skye.
„ „ Conisborough Castle, Yorks.
„ „ Trees at Dingwall.
„ „ Rural Landscape.
„ „ Mountainous Landscapes, with
Figures and Goats.
„ „ Wooded Gorge, Llauberis.
Besides the ' Views of Durham,' Robson published
' Outlines of the Grampians,' and ' Scenery of
the Grampian Mountains.' Britton also published
from his drawings ' Picturesque Views of the
British Cities.'
ROBUSTI, DoMENico, son and disciple of Jacopo
Robusli, was born at Venice in 1562. He followed
in the footsteps of his father at a very respectful
distance. His principal works are in the Sala di
Cons.'glio, and in the Scuola di S. Marco at Venice ;
in some of these he is said to have been much
assisted by his father. He was more successful in
portraits than in history, and painted many of
the principal personages of his time. He died in
1637.
ROBUSTI, Jacopo, called II Tintohbtto, 'the
little dyer,' on account of his father's trade, was born
at Venice in 1519. He may be considered the head
of the Venetian School in the second and less
glorious half of its supreme period, the sixteenth
century. He is said to have shown his inclination
for art almost from his infancy, and to have covered
the walls of his father's house with childish sketches.
The latter, recognizing his genius, determined that
he should become a painter, and after some ele-
mentary teaching, Jacopo was received into the
school of Titian. Here he studied for a short time,
(according to Ridolfii, only ten days,) when his
master's jealousy was aroused by the vigour and
spirit of some designs made by the new-comer,
and fearing a future rival, Titian dismissed the
too-promising pupil. Robusti's ambition seems,
however, to have only received a fresh impetus
from this indignity, and he conceived the project
of forming a new school, the characteristic of
which should be a union of the dignity and
grandeur of Michel-angelo's design with the
glow and splendour of Titian's colour. He estab-
lished himself in a small atelier, over the door of
which he inscribed the device : " 11 Disegno di
Michelagnolo, e il Colorito di Tiziano," and in a
short time gained a considerable following. Here
he worked indefatigably, making copies of Titian's
pictures, and drawings from casts of Michel-
angelo's sculptures, and of antiques, taken by
Daniele da Volterra, which he procured from
Florence. He frequently worked by lamplight, for
the purpose of giving greater breadth and power to
his efiects of chiaroscuro. To acquire a knowledge'
of foreshortening, in which the Venetians, as a
school, fell short of the Lombards, he made models
of wax and chalk which he hung up in his studio,
in a variety of positions, and drew them from
every point of view, and under different conditions
of artificial light. He also attended anatomical
lectures and dissections, to acquaint himself more
perfectly with the facts of muscular construction.
393
Robust!
A BIOGRAPHICAL DICTIONARY OF
Kobusti
To this capacity for taking pains, he united a
genius which Vasari has described as "terribile" —
an extraordinary range and wildness of imagin-
ation, and a facility and despatch in execution,
which appeared to his contemporaries little short
of miraculous. The members of the Brotherhood
of San Roooo, at Venice, wishing to place in their
church a painting representing the Apotheosis of
their patron saint, commissioned some of the most
famous artists of the day, Paolo Veronese, Andrea
Schiavone, Salviati, Zuccaro, and Tintoretto, to
prepare sketches from which a choice might be
made. On the day appointed for the decision,
Tintoretto produced his finished picture, to the
amazement of all present. The astonished com-
petitors, lost in admiration of this feat, dubbed
him "II furioso Tintoretto," a nickname which
he amply justified by later achievements.
The impetuosity of his genius, and the extra-
ordinary promptness of his hand, together with
his ardent desire for opportunities of distinguishing
himself, induced him to paint several large works
for the convents and monasteries at Venice, for
little more than the cost of the materials. The
efEect of this unusual readiness and despatch was
naturally the frequent production of works un-
worthy of his powers. The consequent inequali-
ties in his achievements justify the remark of
Annibale Carracci, that " Tintoretto was sometimes
equal to Titian, often inferior to Tintoretto." On
the first appearance of his 'Miracle of St. Mark,'
Pietro Aretino, the vilifier of almost every one else,
wrote to Tintoretto, greatly commending the
work, but adding: "Happy would you he if,
instead of being so hasty, you could prevail on
yourself to be a little more patient."
A commission for which Tintoretto successfully
competed, even with Titian in the field, was the
decoration of one of the great halls in the Doge's
Palace, with a painting commemorating the victory
over the Turks at Lepanto, in 1571, an immense
composition, which he finished in twelve months.
His masterpieces were chiefly produced during the
first ten years of his activity ; three of his finest
works he distinguished by signing, contrary to his
usual practice. These are : ' The Marriage at
Cana' (now in the Sacristy of the Salute at Venice),
the ' Crucifixion ' (in the Scuola di San Rocco),
and the famous 'The Slave,' or 'Miracle of St
Mark' above-mentioned. This last represents a
Venetian slave, who, condemned to martyrdom by
the Turks, has invoked the aid of St Mark. The
saint appears ; the instruments of the executioners
are shattered, and the crowd of persecutors is
dispersed. In this fine work the artist is at his
best. The composition is grand and judicious,
the design correct, the chiaroscuro impressive,
and the colour as fine as Titian. The types, too,
are dignified and well chosen to a degree un-
usual with Tintoretto, who aimed rather at anima-
tion and vigour than at grace and beauty, and
took his models for apostles and saints as he found
them to his hand in the fishermen and gondoliers
of his native city. Among the most famous of his
other works are the colossal ' Paradise ' in the
Doge's Palace, the largest picture in existence,
measuring eighty-four feet by thirty-four ; ' The
Golden Calf,' and 'Last Judgment,' each about
fifty feet long ; and the series of fifty-seven works
in the Scuola di San Rocco, now in a very bad
state of preservation, and greatly obscured by dust
and dirt.
391
Tintoretto's work suffered from the mistaken
tendency in favour of rapid production and pre-
posterous dimensions, which exercised such an evil
influence on Venetian art towards the close of the
16th century. That he was capable of elaboration
as delicate and minute as that of a miniaturist he
showed in the ' Susanna ' of the Casa Barbarigo at
S. Polo, in which he represented "in a small
space, a park containing birds and rabbits, and
all the adjuncts of a pleasure-garden, all carefully
finished."
In addition to his vast historical works, Tinto-
retto produced many portraits, in which his art,
having less scope for its characteristic defects,
shows to great advantage. He particularly ex-
celled in the rendering of human flesh, an excellence
which was marred towards the close of his career
by his abuse of a certain purplish tint. His use
of dark grounds for most of his later pictures
has caused them to lower very much in tone. He
continued to practise at Venice to an advanced
age, and produced a vast number of works, in
which he was greatly assisted by scholars. The
most important members of his school were his
own son Domenico, his daughter Marietta, and
the two (?) Greeks, Domenico Theotocopuli and
Antonio Vasilacchi, called respectively II Greco
and Aliense. Tintoretto died at Venice on the
31st of May, 1594. Works :
BerliQ. Museum. Two Portraits of Procurators of
St. Mark.
„ „ Virgiaaod Child with SS. Mark
and Luke in Adoration.
„ „ Portrait of a Young Man. {At-
tributed by Morelli to Giulio
Canipi,)
„ „ Luna and the Hours.
„ „ Three Venetian Procurators
before St. Marlt
Brunswick. Gallery. Christ's Entry into Jerusalem.
„ „ The Last Supper.
„ „ The Lute-player.
Castle Howard. Gallery. Adoration of the Shepherds.
„ „ Temptation of Christ.
„ „ Sacrifice of Isaac.
„ „ Two Princes of Ferrara in a
church.
Darmstadt. Gallery. Bust Portrait of an old Man,
in a black dress.
„ „ A Han with a gray beard.
„ „ Martyrdom of two Saints.
Dresden. Gallery. Virgin and Child, with SS.
Barbara, Catharine, John,
Chrysostom, and Augustine
in Adoration.
Virgin and Child with S.
Catharine ; a Venetian Ad-
miral kneeling to them.
Portrait of a Man seated, a
youth standing behind hira.
Knight in a Gondola, rescuing
two naked women from a
tower.
The Fall of the Rebel Angels.
The Nine Muses and the Graces
on Parnassus.
Women with musical instru-
ments.
The -Woman taken in Adultery.
Portrait of a Nobleman.
Head of a Venetian Nobleman.
The Seasons (3 pictures).
Portrait of a Venetian Senator.
Florence. Pitti Pal. Cupid born of Vulcan and
Venus.
Portrait of a Man with a gray
beard and bald head.
Portrait of Vino^zo Zeno.
The Descent from the Cross.
Dublin. National
Edinburgh. Nat.
Gall.
Gall.
Bo'busti
PAINTERS AND ENGRAVERS.
Kobusti
Florence
J'ittiPaZ
The Resurrection.
Milan.
Brera
*
"
Madonna and Child.
Paris.
Louvre.
Portrait of an old Man with a
}J
a
long white beard.
tt
it
))
Portrait of a bearded Man,
»
holding in his hand the
Petersburg. Hermitage.
model of a horse.
»j
»
Portrait of a Man with short
hair, in a vest trimmed with
fur.
it
IT
»j
>»
Portrait of a young Man.
tt
a
tj
Uffizi.
Christ's Entry into Jerusalem.
j>
»
»)
tt
Portrait of Sebast. Teniero.
It
tt
Portrait of an old Man seated.
Veuice.
Doge's Palace,
»)
tt
The Marriage in Cana of Galilee.
j»
tt
»j
1)
Portrait of Sansovino.
ti
a
it
»»
Abraham's Sacrifice.
}t
it
n
Tl
Bust Portrait of a Maa
Liverpoo!
JJ. Inst.
Sketch for the ' Paradise.'
u
Scuola di San
I^ndon.
Bridgewater
\ The Descent from the Cross.
/ Presentation in the Temple.
Eocco.
Gallery.
»
j»
Two Portraits of Venetian
Gentlemen. (One iJaicd 1588.)
»»
Jtoj/al Library.
tt
}7
Portrait of a Venetian Coun-
sellor.
tt
Academia.
*j
Hampt. Court.
Esther before Ahasuerus.
;j
St
tt
J'
The Nine Muses in Olympus.
Portrait of a Knight of Malta.
tt
tt
J)
Portrait of a Venetian Gentle-
man.
tt
j>
«
>»
Portrait of a Man in a Fur
Mantle.
tt
it
It
»
Male portrait, called Ignatius
Loyola.
tt
It
n
)j
Christ before Pilate. (Study.)
j>
St. Eoch curing the Plague.
tt
tt
»
»»
St. George and Princess Cleo-
dolinda.
jt
jj
Labyrinth in a Garden.
tt
tt
tt
JVational Gall.
St. George destroying the
Dragon.
it
tt
it
ij
Christ washing the Feet of
His Disciples.
tt
)»
Madrid.
Stafford House.
Museum.
A Party of Musicians.
Battle by Sea and Land.
It
»
Portrait of Sebastian Veniero.
,^
^'
J.
Portrait of a Man in black.
tt
J,
»»
jj
Baptism of Christ.
tt
tt
jf
Portrait of a Venetian Senator.
M
)J
j^
An Allegory of Venus.
>}
)j
Portrait of a Prelate. (Inscribed
tf
tt
Petrus Archiepiscopus.)
it
tt
)»
)i
Portrait of a young Jesuit,
with black beard.
tt
S. Maria della
Salute.
>»
»
Portrait of an elderly Man,
probably a Secretary of the
Venetian Senate.
it
S. Maria deV
Orto.
SS. Giovanni
jy
))
Portrait of a young Lady,
e Paolo.
holding a Eose.
it
S. Zaccaria.
»)
»»
Portrait of an armed Man,
probably a Spanish Creneral.
Vienna.
Gallery.
»
»»
The Chastity of Joseph.
i>
)i
))
j>
Visit of the Queen of Sheba to
Solomon.
tt
it
»)
j»
The Finding of Moses.
tt
a
»)
Susanna.
n
,,
»>
s>
Esther before Ahasuerus.
Paradise.
tt
it
it
»
»)
Portrait of a Man with a small
brown beard, holding a
manuscript.
"
It
tt
,
Portrait of a Man in a silk robe.
»
It
»
J»
Portrait of a young Man in a
gray silk gown.
tt
)»
jj
>»
Purification for the Midianitish
Virgins.
»»
it
j»
J»
Death of Holofernes.
tt
tt
»j
tJ
Judith and Holofernes.
9*
it
Tarquin and Lucretia.
it
)»
Jj
)l
Five more male Portraits. .
Milan.
Brera.
Three Portraits of "Women.
Pieta.
»
»>
)t
f}
St. Helena with the Cross, and
ji
)»
other Saints.
j»
a
Portrait of an old Man.
Susanna and the Elders.
Paradise.
Portrait of Himself.
Male Portrait.
The Nativity of St. John the
Baptist.
Eesurrection of the Saints.
(Sketch for the ' Paradise.')
St: George and the Dragon.
Andromeda.
Portrait of a Venetian Noble.
Male Portrait.
Paradise.
Bacchus and Ariadne.
Mercury and the Graces.
The Forge of Vulcan.
Mars driven off by Pallas.
) A Series of fifty-seven pictures,
I among them the * Cruci-
fixion.'
Two pictures of Miracles by St.
Mark.
Miracle of St. Mark. (The
Slave.)
Adam and Eve.
Madonna and Child and Three
Senators.
Eesurrection and Three Sen-
ators.
Portrait of the Doge Luigi
Mocenigo.
Virgin and Child, with SS. Jo-
seph, Mark, John, and a
Doge.
Death of Abel.
Portrait of Pietro Marcello.
St. Mark._
The Prodigal Son, and the Car-
dinal Virtues. (A Ceiling.)
Descent from the Cross.
Portrait of the Procurator Carlo
Morosini.
Portrait of the Procurator Al-
vise Eeniero.
Several other male Portraits.
Assumption of the Virgin.
Virgin in Glory with Saints.
Christ on the Cross and the
three Marys.
The Eesurrection.
The Woman taken in Adultery.
V The Marriage in Cana.
> The Last Judgment.
t A Holy Conversation.
Birth of the Virgin.
Christ blessing Venetian Sen-
ators.
Adoration of the Magi.
The Finding of Moses.
Jews gathering Manna.
St. Jerome.
Susanna and the Elders.
Descent from the Cross.
Mucius Scsvola.
Apollo and the Muses.
Hercules driving the Fawn out
of the bed of Omphale.
Sebastiano Veniero.
Portrait of the Doge Glrolamo
Priuli.
Two Portraits of the Doge
Niccolo da Ponte.
Portrait of an Officer in ar-
mour.
A Portrait Group of an old
Man and a Boy.
Three Portraits of Procurators
of St. Mark.
Three Portraits of Senators.
Thirteen other Male Portraits.
395
Kobusti
A BIOGRAPHICAL DICTIONARY OF
Boden
ROBUSTI, Marietta, the daughter of Jacopo
Robusti, bom at Venice in 1560, was instructed
in art by her father, and devoting herself to
portrait painting as an art suited to her sex, she
acquired considerable reputation. She painted
many of the principal personages at Venice, but
her celebrity was not confined to her native
country. She was invited to the court of the
Emperor Maximilian and to that of King Philip II.
of Spain ; but her father's affection prevented an
acceptance of either invitation. She died in 1590.
EOCCA, Antonio, painter, practising in Italy
about the middle of the 17th century. The de-
tails of his life and works are unknown, but he
is mentioned by various writers of his age as a
foreign artist of much excellence, working in Rome
and in Piedmont. He is said to have been a monk,
and to have died at Rome about 1660.
EOCCA, Daniels Jaoopo, painter, born at Rome.
He was a pupil of Daniele da Volterra, and was an
artist of mediocre talent. He died at Rome in
1600, at a very advanced age.
ROCCA, MioHELE, called also Pakmigiano the
younger and Michele da Parma, was born at
Parma in 1671. He practised in Rome, and died
some time after 1751. He was gifted with some
talent, and worked in the manner of P. da Cortona.
In the Munich Gallery there is an ' Adoration of
the Shepherds' by him.
ROCCADIRAME, Angelo, painter, born at
Naples in 1396. Several of his works are to be
found in the churches of his native city, among
the best is an 'Archangel Raphael' in SS. Severino
e Sosio.'
ROCHARD, FBAN501S, a miniature painter, born
in France in 1798. He studied in the Paris
Academy, and about 1820 migrated to London,
where he exhibited for many years at the Royal
Academy. He died at Netting Hill in 1858.
ROCHARD, Simon Jacques, a French miniature
painter, the elder brother of F. Rochard, was born
in Paris in 1788. He entered the Ecole des Beaux
Arts in 1813, and studied under Merimee and
Isabey. After practising in Paris he settled in
England, where he obtained a large and fashionable
connection. He exhibited at the Royal Academy
for many years, but in 1850 retired to Brussels,
where he died.
ROCHE, Benedict, painter, born at Valencia.
He was a pupil of Gaspar de la Huerta, and it is
said that his works were sometimes mistaken for
those of his master. He died in 1785.
ROCHE, Jean, (or Bboche,) a French painter,
born at Carcassonne. In 1365 he painted several
pictures for the ' Eglise des Domes ' at Avignon.
ROCHE, Sampson Towgood, miniature painter,
practised at Bath early in the 19th century. He
exhibited at the Academy in 1817, but his practice
seems to have been purely local.
ROCHERS, Etienne des. See Deskochers.
ROCHETET, Michel, a French painter of por-
traits and historical subjects, who flourished in the
16th century, and worked at the decoration of the
Louvre, and of the palace at Fontainebleau, under
the direction of Primaticcio.
ROGHETTI. See Faenza, Marco Antonio di.
ROCHFORD, P. DB, a native of France, flourished
about the year 1720. He engraved several of the
plates for the large folio collection of ' Views of the
Palace and Gardens of Versailles,' published by
P. Menant. He also engraved some prints from
the pictures of Jean Baptiste Santevre, and other
■ 396
painters. He resided some time in Portugal, where
he died.
ROCHIENNE, Pierre, a French engraver on
wood, who flourished about the year 1651. In
conjunction with J. Ferlato, he executed a set of
very indiHerent wood-cuts for the New Testament,
in Latin, published in 1551 . He also engraved some
cuts for the ' Legende dor^e,' published in 1557.
ROCQUE, J., was probably a native of Prance,
but about 1750 he resided in England, where he
graved maps and a few views from his own de-
signs. Among these are two large views of
Wanstead House, Essex. Vivaret engraved a view
of Kensington Palace after a drawing by Rocque.
RODDELSTET, (or Rddestedt,) Peter. See
GoTTLAND'j', Peter.
RODE, Christian Bebnhard, painter and en-
graver, was born in Berlin in 1725. Having learned
the rudiments of his art in his native city, he went
to Paris, where he studied for a time under Charles
Vanloo and Pesne. He afterwards travelled to
Italy, and on his return to Berlin met with very
flattering encouragement as a painter of history
and portraits. He painted several altar-pieces for
the churches at Berlin and the other towns in
Prussia, and was employed by the king in em-
bellishing the palace of Sans Souci. In 1783 he
became Director of the Academy at Berlin. He
etched a great number of plates from his own
designs and those of others. There is a MS.
catalogue of 309 plates by him in the British
Museum Print Room. The following are his
principal works :
The ceiliogs in the New Palace, Sans Souci.
A Descent from the Cross. (Marienldrche, Berlin.)
The Agony iu the Garden. (Manenkirche, Berlin.)
The Ascension. {Rostock.)
ENGRAVINGS.
A Head of Christ.
The Maskers ; after Schluter.
Plates for Gessner's ' Idylls ' and Gellerl's ' Fables.'
RODE, JoHANN Heinrich, the younger brother
of Christian Bernhard Rode, born at Berlin in 1727,
■was brought up to the profession of a goldsmith,
but abandoned that pursuit to devote himself to
engraving. Having executed some plates at Berlin
with considerable success, he went to Paris, where
he became a pupil of Johann Georg Wille. During
his ]-esidence in that city he engraved a few plates
in the finished style of his instructor, and on his
return to Berlin published several prints from the
designs of his brother. He had acquired a reputa-
tion, when his career was cut short by his death
in 1759. Among others, we have the following
prints by him :
The Portrait of Johann Georg AVille ; after Schmidt.
A Head of Epicurus ; after J. M. Preislcr.
Jacob wrestling with the Angel ; aftei- C. B. Eode.
An Ecce Homo ; afiei' the same,
A Sacrifice of the Vestals ; after the same.
RODE, (or Roode,) Niels, Nelis, or Cornelis,
painter, horn at Copenhagen in 1743. He came to
Holland, and studied at the Hague under the
portrait-painter J. G. Ziesenis. In 1776 he became
a member of the ' I'ictura ' Society at the Hague,
and finally established himself at Leyden. He
died in 1794. There is a portrait group by him
in the Town-hall at the Hague.
RODEN, Mathys, a Flemish painter of the 15th
century, who practised at Ghent, and became a
member of the Corporation in 14'75. In 1477, he
designed some allegorical figures for the fete in
Boderigo
PAINTERS AND ENGRAVERS.
Koeh.lL
honour of the entry of Duke Maximilian. No record
of his works later than 1483 has come down to us.
RODERIGO. See Sicilliani.
EODERIGO. See Rodriguez.
RODERMONT, (or Rottbrmondt,) called Rot-
ERMANS, was a native of Holland, and flourished
about the year 1640. From the style of his etching
he appears to have been a painter, and to have
imitated Rembrandt with success. He engraved
a few portraits, now become scarce; among which
are :
Sir William Waller, Serjeant Major-general to the Par-
liament, with a Battle in the background; after C.
Jansen.
Joannes Seoundus, a Latin Poet of the Hague ; signed
Uodermont, fecit.
RODRIGUEZ, Alfonso, a painter of Spanish
extraction, born at Messina in 1578, studied the
works of Titian, Raphael, and Michael Angelo.
His best works are to be found at Messina: 'The
Impotent Man at Bethesda,' in S. Cosimo de'
Medici; 'The Murder of the Innocents,' in S.
Elena de Constantino ; ' Madonna with St. John,
and St. Nicholas,' in S. Filippo Neri. He died at
Messina in 1648.
RODRIGUEZ, Domingo, a Portuguese painter
and Augustine monk, was living at Salamanca in
1682. He painted many pictures of saints and
martyrs for the convent of his order in that city.
RODRIGUEZ, Frate Adrian. See Dibrix.
RODRIGUEZ, Giovanni Bernardino, called II
PiTTOR Santo, the son of Alfonso, and nephew and
pupil of Luigi Rodriguez. After his uncle's death
he formed a close connection with Domenichino,
which continued until the hitter was driven from
Naples. Rodriguez has much of the tenderness
of Domenichino. He died in 1667 at Naples,
where the following works of his are to be seen :
' The Virgin with the Child rescuing a Soul from
Satan,' altar-piece for the church of the Madonna
del Soccorso ; ' S. Carlo in glory, with angels sing-
ing and playing,' in a chapel of the church of Gesii
Nuovo.
RODRIGUEZ, Jqan, of Bejae, was employed
in 1476 by the Duke of Alva to execute ' ara-
besques ' in his palace of Barco di Avila.
RODRIGUEZ, Luigi, brother of Alfonzo Rodri-
guez, bom at Messina in 1585, studied at Rome
and Naples. In the latter city he painted for
some time with Bellisario Corenzio. On his return
to Messina he executed twelve scenes from the
Trojan War, in monochrome. There is a tradition
that he was poisoned at Naples by Corenzio.
RODRIGUEZ DB MIRANDA, Francisco and
Nicolas, painters, the less famous brothers of
Pedro. Francisco wag bom in 1701, and was
appointed painter to the Master of the Horse. In
1746 he painted twelve large pictures, representing
incidents in the life of S. Peter, for the convent of
San Gil at Madrid. He died in 1751. Nicolas
distinguished himself as a landscape-painter, and
died at Madrid shortly before Francisco.
RODRIGUEZ DB MIRANDA, Pedro, born at
Madrid in 1696, was the nephew and scholar of the
elder Juan Garcia de Miranda. (See Garcia de
Miranda.) Under the auspices of Father Aller,
confessor of the Infant Don Philip, fourth son of
Philip v., he painted an Immaculate Conception
so pleasing to the prince that he insisted on
its being inscribed with the artist's name. He
executed a half-length portrait of Aller, and
various religious subjects for the Bare-footed
Carmelites. He chiefly distinguished himself,
however, by landscapes and scenes of low life,
as well as panels of coaches, which were sufficiently
prized to be preserved when the coaches them-
selves were worn out or disused. He succeeded
his uncle as painter to the King, and died in 1766.
RODRIGUEZ de RIBERA, Isidro, was court
painter at Madrid in the early part of the 18th
century, and in 1725 was appointed Valuer of
Antique Pictures by royal letters patent.
RODRIGUEZ, Simon, u, Spanish painter of some
talent, who flourished in the 16th century. The
details of his life are unknown, but at the monas-
tery of Belem, on the Tagus, there is a ' Nativity '
of much merit by him.
RODRIGUEZ-BLANES, Benito, painter, born
at Granada in 1650, was an imitator of the style of
Alonzo Cano. He took orders, and gained a high
reputation both for his talent as a painter and for
the blamelessness of his life. Among the works
he is known to have executed were : ' A Madonna,'
for the staircase of the Archbishop's palace at
Granada, and other paintings for the church of
Nuestra Senora de las Angustias, for the church
of the Augustine order, and for that of the Bare-
footed Carmelites. In the Munich Gallery there
is a portrait of a naval officer by him. He died at
Granada in 1737.
ROECKEL, WiLHELM, historical painter, born
at Schleissheim in 1801, where his father was a
glazier. After studying in the Munich Academy
under Langer, he went to Diisseldorf. On his
return to Munich in 1827 he took up_ glass
painting. In the Auerkirche at Munich is a
picture of the ' Marriage of Cana ' by him. He
died at Munich in 1843.
ROED, Holger Petee, was the son of Jorgen
RoED, a living Danish painter, and was bSrn at
Copenhagen in 1846. He studied at first under his
father, but in 1861 entered the Academy, where
he received a gold medal for a ' Scene from the
Deluge.' In 1870 he went to Paris, Rome, and
Naples, but returned home after two years' absence.
He died prematurely in 1874.
ROEDER, Julius Siegmund, the son of poor
pai-ents, was born at Berlin, 1829, entered the studio
of Dr. Herbig at the age of fifteen, and the
Academy a few years later. He had great difficul ty
in maintaining himself, and was obliged to curtail
travels undertaken to complete his art education.
A fortunate marriage improved his prospects,
but his wife soon died, and he left Weimar,
where he had been living with her. His picture
' The last Blessing ' (in the possession of the
Emperor of Germany) was exhibited in 1850.
His ' Grape Seller ' is now in the Berlin Gallery.
He died in 1860.
ROEDIG, J. G, a painter of fruit and flower
pieces, was bom at the Hague in 1751. He was
a pupil of Van der Aa, and became secretary to
the School of Art at the Hague in 1794. He died
in 1802.
ROEHN, Adolphe Eugene, born in Paris in
1780, belonged to the school of the Restoration.
He began his career with a ' Market Scene,' and
a ' Halt of Spanish Soldiers,' and in 1866 he ex-
hibited his ' Dancing Bear.' He was professor of
drawing in the College Louis le-Grand. He died
at Vannes in 1867.
ROEHN, Jean Alphonse, the son of Adolphe
Roehn, born in Paris in 1799, was a, pupil of
Regnault and Gros. He entered the Ecole des
397
Roelas
A BIOGRAPHICAL DICTIONARY OF
Bogerson
Beaux Arts in 1813, and afterwards became a
colleague of his father at the CoUfege Louis-le-
Grand. His works were rather in the style of
the 18th century. He died in Paris in 1864.
ROELAS. See Ds las Roblas.
ROELOFSWAART, Adolf, painter, born at the
Hague. He practised towards the close of th«
18th century, painting historical subjects and
portraits, and was a pupil of Abraham Verkolje, of
Amsterdam. He lived for some time at Delft, and
finally settled at Ryswick, near the Hague.
ROEPEL, CONRAED, (KoBNBAAD,) an eminent
Dutch painter of flowers and fruit, born at the
Hague in 1679. He was placed for some time
under the care of Constantino Netscher, with the
intention of becoming a portrait painter ; but the
delicacy of his constitution made it necessary for
him to quit the Hague, and to reside at a country-
house of his father's, where he amused himself in
cultivating flowers. This occupation led him to
an attempt to paint the objects of his care. Some
of his pictures were bought by a florist at the
Hague, who afterwards kept him supplied with
flowers. In 1716 he was invited to the court of
the Elector Palatine, at Diisseldorf . On the death
of his patron he returned to the Hague, where he
painted some pictures for Prince William of Hesse,
and the families of Fager and Lormier. There
are specimens of his art in the Berlin and Cassel
Galleries. In 1718 he was received into the Pic-
tura Society, of which he was the Director at the
time of his death, in 1748.
ROER, Jakob van deb. See Van der Roer.
ROESTRAETEN, Pibtbe, portrait and still-life
painter, born at Haarlem in 1627, was brought up
under Frans Hals, whose daughter he married, and
whose style in portrait painting he followed for
some time with success. Attracted by the fame of
Sir Peter Lely' s good fortune in England, he visited
this country in the reign of Charles H. He was
received by Lely with great kindness, and intro-
duced to the king ; but it does not appear that he
met with much encouragement at Court, as none
of his pictures are to be found in the palaces, or
in the royal catalogues. The story of Lely's
jealousy of Roestraeten seems to be unfounded.
Roestraeten painted with great success vases of
gold and silver, bas-reliefs, mOsical instruments,
&c., which he designed with precision. His
pictures were well coloured, and touched both with
delicacy and freedom. The exact date of his visit
to England is not ascertained ; but he must have
resided here many years, as he met with an
accident at the fire of London, and was lame for
the rest of his life. He died in London in 1698.
ROETTIERS, FRANgois, was born in Paris in
1702, of a Flemish family. His, ancestors had
for many years been medallists to the French
mint. He was probably a scholar of Nicholas de
Largilliere, from whose designs he etched the
following plates :
Christ bearing His Cross.
The Onicifixion.
There are a few others by him of less import-
ance. He died in 1770.
ROFFB, John, an English engraver, born in 1769.
His practice was chiefly confined to architectural
plates. He died at HoUoway in 1850. Specimens
of his work are to be found in :
The Marbles ia the British Museum. 1812.
Murphy's Arabian Antiquities of Spain. 1816.
398
ROGEL, Johann, an engraver on wood, practised
at Augsburg about the year 1567.
ROGEL, Maestro. See Van der Weyden,
Roger.
ROGER, Adolphe, a French historical painter.-
born at Palaiseau in 1797. He studied under Gros,
and obtained honours in 1822, 1831, and 1841. He
had considerable practice as a decorative painter,
and executed works at the churches of St. Elizabeth,
St. Roch, and Notre Dame de Lorette, in Paris.
He died in 1880. Amongst his works we may also
name :
Versailles. Gallery. Battle of Civitella. 1842.
Trianon. Charles V. entering the Louvre.
1835.
„ „ Takmg the Veil.
„ „ Ordination of Africans.
ROGER DE Bruges. See Van der Weyden,
Roger.
ROGER, EUG^NB, a French historical and portrait
painter, born at Sens in 1807. He studied under
Hersent, and obtained the second prix de Home in
1827. Six years after he obtained the coveted
grand prix. He died in Paris in 1840. Amongst
his works are :
Nancy. Museum. Finding the body of Charles the
Bold.
Versailles. Gallery, Charlemagne crossing the Alps.
1837.
„ „ Baising the Siege of Salerno.
1839.
ROGERS, George, amateur, painted landscapes
of some merit, and was an exhibitor at the Spring
Gardens Exhibition in 1761 and 1762. He married
a daughter of Jonathan Tyers, the proprietor of
Vauxhall, and settled in the Isle of Wight. He
died about 1786.
ROGERS, Philip Hutchins, an English land-
scape painter, born at Plymouth in 1794. His
works were chiefly inspired by Devonshire scenery,
and occasionally appeared at the Academy up to
1835. During his latter years he resided in Ger-
many, and died at Lichtenthal, near Baden-Baden,
in 1853. Amongst his works are :
Karlsruhe. Gallery. View of Plymouth Harbour.
„ „ View of Baden.
Saltram House. Two views of Saltram.
Strasbourg. Museum. Entrance to Plymouth Harbour.
ROGERS, William, an English engraver, born
in London about the year 1545. It has not been
ascertained from whom he learned the art of
engraving, but he worked with the burin in a neat
though stiff style. He engraved a few portraits, and
several frontispieces, and other book ornaments.
He was one of the earliest English engravers to
practise the art as a profession. He usually
marked his plates with the cipher "VVD
We have the following prints by him :
PORTRAITS.
Queen Elizabeth ; a small upright plate.
Henry IT. of France ; a whole length.
The Emperor Maximilian ; a whole length.
The Earl of Essex, Earl Marshal of England.
The Bari of Cumberland.
Thomas Howard, Duke of Norfolk.
Sir John Harrington ; the title to his ' Orlando Furioso.'
Thomas Moffat; a frontispiece to his 'Theatre of
Insects.'
John Gerarde, Surgeon ; frontispiece to his ' Herbal.'
ROGERSON, R., portrait painter, who lived in
the middle of the 17th century. He pamted a
Bogery
PAINTERS AND ENGRAVERS.
Koman
room in the Pope's Head Tavern, in London, in
1688 (Pepya).
ROGBRY, Roger db, a French artist, who,
about 1670, painted a series of pictures at Fon-
tainebleau, from the legend of Hercules.
ROGHMAN, Geeetruydt, the daughter of Roe-
land Roghman, engraved after her father. Bartsch
has described Le Chateau de Zuylen, engraved by
her after her father's design, and there are also
by her a ' Massacre of the Innocents,' after
Tintoretto, and about twenty plates more of less
importance.
ROGHMAN, Hk. Lmr., and P. H. ROGHMAN.
These names are signed to two or three engraved
portraits. The first appears on a portrait of M.
Barent Jansz, »t. 53, 1627 — H. L. Roghman
sculpsit — the H. L. and E. forming a cipher ; the
second on a portrait of A. I. Roscius in an oval —
P. H. Roghman, sculpsit. The latter signature
is also affixed to a, print after Rubens, and to a
portrait of Erasmus.
ROGHMAN, (or Rogman,) Roeland, a Butch
painter and engraver, was born at Amsterdam in
1697. It is not known by whom he was instructed
in art, but he was a good painter of landscapes.
His pictures usually represent views in Holland,
and (jn the borders of Germany. They exhibit a
close attention to nature in the forms, but his colour
is dark and disagreeable. He has left several
landscape etchings. His landscapes have a strong
resemblance to those of Rembrandt, with whom
he was on terms of intimacy. He sometimes
painted distances to the figures of Lingelbach.
His drawings with the pen are very free and
spirited, and prove that he was an artist of much
talent. They are very numerous. The Rotterdam
Museum possesses a collection of twenty-five of
the best. His etchings, like his drawings, re-
present views of chateaux and ruined buildings.
Several of the plates have been re-bitten, and these
appear scratchy and crude. His prints are thirty-
nine in number ; six, published by Peter Nolpe
with the title of ' Views in the Wood at the Hague,'
are retouched and finished with the graver by
Nolpe himself. It is supposed that Roghman
died in the workhouse at Amsterdam about 1686.
EOGIER, NicoLADS, called also Kaynoot Ru-
GIBEO, a Flemish landscape painter, who flourished
from 1620 to about 1640, and is said to have
painted in the style of Joachim Patinir.
EOKERZ, Hendbick, an obscure Dutch engraver,
by whom we have a few portraits, very indifferently
executed ; among them that of
■William Henry, Fiicce of Orange, on Horseback ; after
P. Janse.
ROKES, Hekdriok. See Sorgh.
ROLAN, Fanguerbe, a Spanish painter, who
practised in the neighbourhood of Seville, and in
1663 painted a picture of the Virgin and St. Francis,
which was bought by the Tribunal of Indian
Commerce for 4633 maravfedis.
ROLI, Giuseppe Maria, (Rolli,) born at Bo-
logna in 1654, was a scholar of Domenico Maria
Canuti. There are several of his frescoes in the
churches of his native city. We have also some
etchings by him after the principal Bolognese
painters, among which are the following :
Charity ; after Lodovico Carracci.
A Sibyl ; after Lorenzo Pasinelli.
Lucretia in the act of stabbing herself ; after Canuti.
The art of Drawing ; after Pasinelli.
His brother, Antonio, born at Bologna in 1643,
is mentioned by Crespi as a decorative painter of
much merit, and the pupil and assistant of Angiol
Michele Colonna. He died in 1696.
ROLLAND, AUGUSTE, painter, architectural
draughtsman, and modeller, born at Metz in 1797.
He had much versatility in his art, painting
landscape, genre pictures, and still-life. His
travels in Switzerland and the Pyrenees furnished
him with many subjects. He died in 1869. By
him :
Metz. Musie. Cow-stable in the Pyrenees.
„ „ L'Etang de Bouligny.
„ „ Cows crossing a Stream.
ROLLER, Jean, painter, born in Paris in 1798.
He began life as a piano-maker, but afterwards
set up as a portrait painter, and was also a sculp-
tor. He was a pupil of Gautherot. He died in
1866. Works :
Portrait of M. Coriolis {Acadimie des Sciences).
Portrait of M. Dumas, president of the Academie des
Sciences.
ROLLIN, J., a French painter of little notei
who painted at Avignon at the beginning of the
17th century, and whose works had some local
popularity.
ROLLMANN, Julius, landscape painter, born
in 1827, was originally apprenticed to a decorative
painter at Diisseldorf, and at the same time worked
at the Academy. Thence he went to the Berlin
Academy. After travelling in the Bavarian moun-
tains he settled in Munich, but returned again to
Diisseldorf, and in 1868 he was in Italy. His
studies in Bavaria, the Tyrol, and Venice, displayed
great originality. In the National Gallery at
Berlin there is a ' Mountain Scenery, Bavaria,'
by him. He died at Diisseldorf in 1865.
ROLLO, , a painter of whom nothing
is known, except that the name appears on an
' Ecce Homo,' in the manner of Guido. The sig-
nature is Ratio Gallois, F.
ROLLOS, PiETER, a German engraver, who
resided at Frankfort about the year 1620. He
engraved a frontispiece to a book of Emblems, by
G. de Montenay, published in that city in 1619.
He executed a few other book plates, in a very
indifferent style. He sometimes signed his prints
P. ROL. F.
ROLLS, Charles, draughtsman and engraver,
born 1800. He assisted the I'indens in their
' Gallery of British Art,' and also exhibited some
fruit and flower pieces at the British Institution
between 1856 and 1867.
ROMA, Spieidonb, an Italian portrait painter
and decorator, who practised in England in the
18th century. His works appeared at the Academy
from 1774 to 1778, and he painted a ceiling at the
old East India House. He died in 1787.
ROMAGNESI, Joseph Antoine, lithographer,
born in Paris, 1776. He is best known as a
sculptor, but also published various prints for
illustration, among which were a set for ' Les
Aventures de Sappho ' (1818). He died in 1852.
Two more artists of the same name and family
were at work at the same time.
ROMAIN, de la Rue, painted landscapes
in the manner of Jan Asselyn, Swaneveldt, and
Jan Both. No details of his life are known, but
excellent pictures by him occasionally appear, and
pass for the work of one or other of those masters.
ROMAIN, Le. See Mignard, Pietbr.
ROMAN, BABTOLOMii, a Spanish painter, born at
399
Bomauelli
A BIOGRAPHICAL DICTIONARY OF
Homanino
Madrid in 1596. He was first a scholar of Vin-
ceuzio Carducci, but finished his education in tlie
scliool of Velazquez. He was an eminent painter
of history, and executed several considerable works
for the church of the Franciscans at Aloala de Los
Henares. In the sacristy of the Padres Cayetanos,
at Madrid, there are some pictures by him, which
his biographer. Palomino, compares to those of
Rubens. He died at Madrid in 1669.
ROMANELLI, Giovanni Feancesoo, born at
Viterbo in 1610. Having shown an early inclina-
tion for art, his father sent him to Rome, where
he had the good fortune of being taken under
the protection of Cardinal Barberini, by whom
he was placed in the school of Pietro da Cortona.
His indefatigable application to his studies under
that master rendered him in a few years one
of the most promising young men in Rome ;
and he was left by his master to finish, during
his absence in Lombardy, some paintings he had
commenced in the Palazzo Barberini. On leaving
the school of P. da Cortona, he altered his style,
and adopted one distinguished by more elegance
but less vigour. He painted a 'Deposition from
the Cross,' for the church of S. Ambrogio, which
was BO much applauded, that Pietro, alarmed for
his own reputation, painted a ' Stoning of Stephen,'
in which even Bernini admitted his superiority.
Romanelli painted for the church of St. Peter the
' Presentation in the Temple,' which has been exe-
cuted in mosaic, and the original placed at the
Certosa. On the death of Urban VIII., and the
succession of Innocent to the papal chair. Cardinal
Barberini left Rome for Paris, where he recom-
mended the talents of Romanelli to Mazarin.
Romanelli was engaged to decorate some apart-
ments in the Palais Mazarin and in the Louvre,
where he painted a series of subjects from the
' .iEneid.' On his return to Rome he was employed
in several important works, and was preparing for
a second journey to France, when he died at
Viterbo in 1662. Works :
HamptoE
Court.
Copy of Guide's ' Triumph of
Bacchus.'
Municli.
FinaJcothek,
Herodias with the head of John
the Baptist.
Paris.
Bihliothhque
A series of CJassical Frescoes in
the Galerie Mazarine.
National,
Louvre,
Veuus and jEneas.
^1
•
Venus and Adonis.
)j
»
Israelites gathering Manna.
»5
j»
A series of Classical frescoes in
the Musee des Antiques^ the
Salles des Saisons, de la Faix,
de Septime Severe^ and des An-
tonins.
Kome.
^'ah af^ \ Presentation in the Temple.
»
S. Ayostino
S. Thomas of Villanuova.
S. Ambrogio
Descent from the Cross.
Viterbo.
Cathedral.
Glory of S. Lorenzo.
ROMANELLI, Urbano, the son of Giovanni
Francesco Romanelli, born at Viterbo about the
year 1645, was instructed by his father, after
whose death he became a disciple of Giro Ferri.
There are some of his works in the churches at
Velletri and Viterbo. He died young, in 1682.
ROMANET, Antoine Louis, a French engraver,
born in Paris in 1748. He was a pupil of J. G.
Wille, and afterwards resided at Bas'.e, where he
engraved several plates under the direction of
Christian de Mechel. He was one of the engravers
employed on the plates in the ■' Galerie du Palais
400
Royal,' the 'Galerie d'Orleans,' the 'Cabinet Le
Brun,' 'Picturesque Views in Switzerland,' and
other works of a like kind. He also engraved many
detached pieces after Italian, Dutch, and French
painters. He died in 1807. The best plates,
perhaps, are :
PORTEAITS.
Charles Theodore, Elector of Bavaria ; after P. Battoni.
Louis Francis de Bourbon, Prince of Conti ; after Le
Tellier. . , ,. „
John Grimoux, Painter ; after a picture hy hvnseif.
VARIOUS SUBJECTS.
The Death of Adonis ; after Kupetzky.
The Village Printseller ; after Seekatz.
The Ballad Singer ; after the same.
ROMANINO, GiROLAMO, was born about 1485
at Brescia, and is said to have first been the pupil
of Stefano Rizzi. His family came from the small
town of Romano, on the Serio, whence they took a
surname which was already two generations old
when it came to Girolamo. He was free of the
Brescian Guild of Painters previous to 1610, in
which year he finished and signed a ' Pietk ' for the
church of St. Lorenzo, which is now in Lord
Wimborne's collection. One of his earliest existing
altar-pieces is that of the church of S. Francesco,
at Brescia, representing the ' Virgin and Child be-
tween St. Francis and St. Anthony, and four kneel-
ing Saints,' which was probably finished before
1512. In that year Romanino went to Padua to
avoid the troubles in which Brescia was involved
by' the wars between the Venetians and the
French. When at Padua, Romanino found a home
with the Benedictine Monks of Santa Giustina,
and painted for them an altar-piece, of the 'Virgin
and Child, attended by St. Benedict, St. Justina,
St. Monica, and St. Prosdocimo.' He also decor-
ated their refectory with a ' Last Supper,' and
finished an 'Enthroned Virgin and Child with
Saints.' All three pictures are now in the Gallery
at Padua. In 1517 he returned to Brescia,
having paid a short visit to Cremona, where on
his second visit in 1519-20 he painted four large
frescoes in the cathedral, representing ' Christ
before Pilate,' the ' Scourging,' the ' Crowning with
Thorns,' and 'Christ delivered to the Jews.' On
his return, finding Moretto established in Brescia,
he entered into a friendly rivalry with that artist,
and in 1521 joined him in a contract to embellish
the chapel of the Corpus Christi in S. Giovanni ;
Romanino's part being the frescoes representing
the ' Adoration of the Eucharist,' ' Two Evangelists,'
and the ' Prophets ' ; also two canvases with
the ' Resurrection of Lazarus,' and the ' Magdalen
anointing the Saviour' s Feet.' His next work was
on the frescoes from scenes in the life of St.
Domenic for the convent of his order in Brescia ;
the decoration of the Town-hall with various
subjects ; and the frescoes in the church of S.
Salvatore. After this he painted a fresco in the
castle of Malpaga, representing Bartolommeo
Colleoni invested with the command of the Cru-
saders in the presence of the Pope and his
Cardinals. In 1534 he painted a series of frescoes
for the village church of the Madonna, near
Pisogne, which, although much injured, still shows
his great powers. His next undertaking was a
series of scenes from the life of the Madonna, in
fresco, at Vieno. This was followed by a series
from the life of a Saint for the church of St.
Bomauo
PAINTERS AND ENGRAVERS.
Romney
Antonio at Breno, which are now much defaced.
About 1540 Romaniuo, by the order of Cardinal
Madnizzo, painted several subjects taken from
sacred and profane history, in fresco, in the Cas-
tello of Trent, and, the same year, four scenes
from the life of St. George in the church of that
Saint at Verona. About 1541 he finished the organ
shutters of the Duomo in Brescia, representing
the Birth and the Visitation of the Virgin. His
last known work was a picture of ' Christ's Sermon
on the Mount,' painted for the Benedictines of
Modena in 1557. His death is believed to have
occurred in 1566. Many of the private collections
and churches in Brescia contain examples by tliis
master. Amongst those most worthy of note is
' The Communion of St. ApoUonius,' in the church
of St. Maria Calchera, and a 'Nativity' and a
' Pieta ' in St. Guiseppe. Also :
Berlin. Gallery. Madonna with Saints and Angels.
„ „ Judith.
„ „ A Piet^.
Brescia. „ The Supper at Emmaus.
„ „ Magdalen in Simon's House.
„ „ Christ carrying His Cross.
„ „ Two Portraits.
Oanford. Lord Wim- > , t,. . ,
tome. jAPieti.
London. Aai. Gall. Nativity with Four Saints.
Vienna. Gallery. A Female Portrait.
ROMANO, GiuLio. See Dei Giannuzzi.
ROMANO, II. See Catalani, Antonio.
ROMANO, II. See Teevisano, Fbancesco.
ROMANO, ViNCENZo. See Abibmolo.
ROMBORGH, , a painter of Nimeguen, who
was living at the commencement of the last
century. He studied landscape painting at Rome,
but chiefly in the works of the old masters. In his
style he resembled Fr6d^ric Moucheron.
ROMBOUTS, Jan, (or Rombodts,) of the same
family with Salomon Rombouts. He painted in
Friesland about 1660, and is the author of several
works attributed to Ruysdael and Hobbema. In the
Berlin Museum there is by him a ' Wooded Land-
scape' ; in the Stadel Institute at Frankfurt, a ' Park ' ;
several works in the Brunswick Museum ; and in
the Dresden Gallery a picture of a ' Dutch Village.'
There is a woody landscape in the Amsterdam
Museum signed Y. Rombouts. It is probable that
he is the artist mentioned in the Haarlem archives
under the name of Gilles (Jilles) Rombouts (1661-
1663). Some writers have denied his existence
altogether, holding that landscapes attributed to
him are by Salomon Rombouts^ and that the
signature S. has been misread J.
ROMBOUTS, Salomon, was a follower of Ruys-
dael. He painted principally landscapes and
marine views. In the Hamburg Gallery is a
winter landscape ; in the Leipzic Museum a sea-
shore at Scheveningen ; and at Schleissheim two
landscapes. The dates of his birth and death are
not recorded, but he died in Haarlem before 1702.
ROMBOUTS, Theodobe, born at Antwerp in
1597, was a scholar of Abraham Janssens, under
whom he studied until he was twenty years of age.
In 1617 he travelled to Italy, and it was not long
before his talents distinguished him as one of the
most promising young artists at Rome. His works
were sufficiently esteemed to secure hiin constant
occupation ; and after a residence of a few years
in the capital of art, he had arrived at sufficient
celebrity to be invited to visit Florence by the
Grand Duke, who employed him in some consider-
able works for the Ducal Palace. After an absence
VOL. II. o D
of eight years he returned to Antwerp, whither
the reputation he had acquired in Italy had pre-
ceded him, and he painted some pictures for the
churches, which excited such general admiration
that his vanity led him to believe his abilities equal,
if not superior, to those of Rubens, who was at
that time in full possession of his powers. This
vanity incited him to more arduous exertions,
and his happiest productions were conceived and
executed under the feelings of emulation. Rombouts
possessed a ready invention, and an uncommon
facility of touch. He received the freedom of St.
Luke in 1625. On the 17th September, 1627, he
received a permit from the Burgomaster of Ant-
werp which allowed him to spend his wedding
night outside the city without losing his right as a
citizen, and he then married Anne, a member of
the noble family of Van Thielen. By her he had
one child, a daughter. Of his works, the most
remarkable are the following : ' The Descent
from the Cross,' in the cathedral at Ghent ; ' St.
Francis receiving the Stigmata,' and 'The Angel
appearing to Joseph in his Dream,' in the church
of the Recolets ; and ' Themis with the Attributes
of Justice,' in the Town-house. Rombouts died
at Antwerp the 14th September, 1637. The year
1640 has also been given, but that is a mistake.
He was interred in the Carmelite church.
ROMEGIALLO, Giovanni Pieteo, born at Mor-
begno, in the Valteline, in 1739, learned the rudi-
ments of art from G. F. Cotta, an obscure painter
of his native city, but afterwards went to Rome,
where he became the pupil of Agostino Masucci.
He was much occupied in copying the works of
Guercino, Guido, and P. da Cortona. His pictures
are in the collections at Como, and in the churches
of the Valteline.
ROMEO, Don Josfe, a Spanish painter, horn at
Cervera, in the kingdom of Arragon, in 1701, went
to Italy when he was young, and studied at Rome
under Agostino Masucci. On his return to Spain
he resided for some time at Barcelona, where he
painted some pictures for the church of the Mer-
cenaries Calzados. He afterwards visited Madrid,
where he was taken into the service of Philip V.
He died at Madrid in 1772.
ROMERSWALE, Van. See Mabinus.
ROMEYN, WiLLEM van, (Romijn,) a Dutch
painter of landscapes, with cattle and figures,
born at Haarlem in 1624, was a pupil of Berohem,
to whose pictures those of Romeyn bear a great
resemblance. They also show points of similarity
with those of Karel du Jardin and Adrian van de
Velde. They are generally small, well drawn and
composed, and harmonious in colour. His pictures
are in all the principal galleries of Europe, but are
frequently attributed to one or other of the above-
named masters. It may be added that some of his
landscapes have a slight resemblance to those of
Jan Both : it is probable that he had visited Italy.
He died at Haarlem in 1693. Works :
Amsterdam. Museum. Two landscapes _with Cattle,
signed W. Romijn.
„ „ Two ditto, signed W. Eomeijn.
„ „ One ditto, signed W. R.
.Berlin. Museum. Italian Landscape ; W. Romijn.
Dresden. Gallery. Rooky Landscape ; W. Romeijn.
London. Dvlvrich Gal. Two Cattle pieces ; W. Romeijn.
ROMNEY, Geoege, painter, was born at Dalton-
le-Furness, Lancashire, on the 15th December,
1734. He belonged to a respectable yeoman
family, whose original home had been near
401
Romney
A BIOGRAPHICAL DICTIONAEY OP
Romney
Appleby, but the painter's grandfather had, during
the troubles of the Civil War, been obliged to
move further south. At Dalton he married at
the age of sixty, and had several children. His
son John, a cabinet-maker, married, in 1730, Anne
Simpson, of Sladebank in Cumberland, and had
by her a daughter and ten sons, of whom one
was the painter. George Romney did not in his
school life show any special aptitude for any-
thing. He was accordingly removed in his
eleventh year, and set to his father's trade. He
soon developed a great fancy for mechanics,
and employed his leisure in carving small figures
in wood, and in the construction of experi-
mental violins, a passion for music leading him
to this last pursuit. It is not clearly known at
what precise period Romney first showed an in-
clination for art, but we are told that during his
apprenticeship he was in the habit of making
sketches of his fellow-workmen, and that he got
hold of a copy of Leonardo's ' Treatise on Paint-
ing,' which he read with deep interest, making
copies of the engravings. Other sketches and
likenesses done at this time showed so much
talent that John Romney was persuaded to take
his son, then nineteen years old, to Kendal, and
to there apprentice him to an eccentric painter,
Christopher Steele, whose love of dress and affec-
tation of French manners and tastes had gained
for him the nickname of 'Count' Steele. Steele
had studied in Paris under Vanloo, and was not
without talent, but his idleness and extravagance
made him a bad master. He neglected his
pupil, employing him as a mere studio drudge.
Romney allowed, however, that he gained experi-
ence even under these unfavourable conditions.
Steele, finding that his practice as a portrait
painter was an insufficient source of income,
resolved to carry off a young lady of fortune,
whose affections he had gained, and aided by
Romney, he succeeded in wedding her at Gretna
Green. The excitement and anxiety caused by
this affair is said to have thrown Romney into a
fever, through which he was nursed by Mary
Abbot, a good and attractive girl, who lived
with a widowed mother and a sister at Kendal.
Between her and the painter an attachment sprung
up, and on his recovery he married her, on the
14th Oct. 1756, Romney being nearly twenty-two
years old. In the early days of his marriage he
seems to have treated his wife with kindness.
She, on her part, was devoted to him, and at first
even kept him supplied with money, sending small
sums concealed under the seals of her letters while
he was on his professional tours with Steele.
In 1767 Romney, who had grown weary of his
apprenticeship, induced Steele to cancel the articles
(which were for four years), and as a set off con-
sented to remit a debt of ten pounds, borrowed at
various times by his master. Romney's first work
on his own account was a sign for the post-office
at Kendal — a hand holding a letter, which long
remained in the window. He practised at Kendal
for five years, making a living by portrait paint-
ing at very modest prices — two guineas being his
usual charge for a half-length. The Westmoreland-
people gave him commissions in plenty, and
among his productions of this period are the"
portraits of Walter Strickland of Sizergh and his
wife, Charles Strickland, Colonel Wilson of Abbot-
hall, and Morland of Cappelthwaite, besides a
few original compositions — 'Lear awakened by
402
Cordelia,' 'Lear in the Storm,' 'A Shandean
Piece,' 'A Tooth drawn by Candle-light,' 'A
Landscape with figures,' etc. About twenty of
these he exhibited in the Town-hall at Kendal,
and disposed of them by a lottery, which brought
in the magnificent sum of £40.
As Romney's local fame increased his ambition
took a wider range, and he longed to try his
fortune in the capital, leaving his wife and two
children behind him. The reasons for this last step
have never been satisfactorily explained. Romney's
natural disposition seems to have been kindly and
affectionate ; his wife proved herself in every way
worthy of his first feeling for her, yet the fact
remains that long after any doubts as to the
success of his enterprise had been set at rest, and
when he was at the height of his fame and
worldly prosperity, she and her children remained
in their obscure home in the north, and that in
twenty-seven years Romney only twice paid her
a hasty visit. In 1762, on the 14th March, Romney
started for London. By rapid and continuous
work at portrait painting he had raised a sum
of nearly £100. Taking £30 for his own expenses,
and leaving the surplus to his wife, he arrived in
the capital without even a letter of introduction,
and having never seen any pictures by other
masters save a portrait of Sir William Strickland
by Lely, and two portraits by Rigaud. He estab-
lished himself in a small studio in Dove Court,
near the Mansion House. The moment was
favourable, and there was much truth in Fuseli'a
unfriendly remark, that " Romney was made for his
times; and his times for him." In 1763 he painted
a ' Death of General Wolfe,' to which the Society
of Arts awarded him a prize of fifty guineas.
Departing from the accepted convention of the
day, he had painted his warriors in their actual
costume, and the critics fell foul of his work,
contending that the event represented was too
recent to be strictly called a " historical " subject,
and taking great exception to the cocked hats,
cross-belts, and bayonets of what was contemptu-
ously described as the " coat and waistcoat style."
Mortimer, the historical painter, had also com-
peted, with his ' Edward the Confessor seizing the
Treasure of his Mother,' and the upshot of the
controversy was the reversal of the Society's
decision, the award of the fifty poands to Mortimer,
and of a gratuity of twenty-five guineas to
Romney. It seems certain that this mortification
was chiefly due to the intervention of Reynolds,
and Romney's friends did not hesitate to say
that the great portrait-painter feared a rival in
his own domains, and persistently depreciated
Romney. It seems more just to suppose that
Sir Joshua honestly disliked Romney's work, and
was out of sympathy with his emotional character.
However this may be, a coldness always existed
between the two artists, and Reynolds may have
felt some natural disappointment at the immense
and rapid popularity of Romney as a portrait-
painter. He soon divided the patronage of the
fashionable world with his two greater rivals.
Lord Thurlow declared that the whole town was
divided into two— the Romney and the Reynolds
—factions, adding : " And I am of the Romney
faction." Such comment irritated Reynolds, who,
later in Romney's career, is said to have habitu-
ally called him "the man in Cavendish Square."
In 1764 Romney paid a short visit to France, and
a year later he won the first prize of the Society
Romney
PAINTERS AND ENGRAVERS.
Komney
of Arts isdth his 'Death of King Edward.' In
1773 he set out for Rome in company with his
friend Humphrey, the miniature-painter, hearing
a recommendation to the Pope, who allowed him
to erect scaffolds in the Vatican in order to make
copies from Raphael. He stayed two years in
Italy, and on his return in 1775 he was over-
whelmed with commissions. He now took the
large house in Cavendish Square left vacant by
the death of Cotes, and afterwards to be tenanted
by Sir Martin Archer Shee. Here he lived in
affluence, his income from portrait painting alone
amounting to between three and four thousand
a year. He worked indefatigably, often sitting
at his easel for thirteen hours, and having five
or six sitters a day ; a month's annual holiday,
which he spent with the egregious Hayley at
Eartham, being his only relaxation.
In 1782 Romney became acquainted with Lady
Hamilton, then calling herself Mrs. Harte. Both
Hayley and Romney were bewitched by her, the
one celebrating her charms in verse, the other in
paint. After her first appearance on his horizon
Romney seems to have relied almost solely upon
her for inspiration. He was jpiserable when away
from the "divine lady," and reduced the numbers
of his sitters in order to devote more time to end-
less studies of her beauties. His infatuation lasted
for years, during which he painted the series of
studies which have immortalized her beauty. In
Boydell's ' Shakespeare Glallery ' Romney warmly
co-operated, claiming indeed the merit of having
originated the idea. Two of his best historical
efforts, the 'Infant Shakespeare,' and the 'Tem-
pest' (in which Hayley sat for Prospero), were
contributions to the undertaking. In 1797
Romney removed from Cavendish Square to a
house he had built at Hampstead, in order to get
more room in which to carry out some conceptions
he had thus described in a letter to his son: "1
have made many grand designs ; I have formed
a system of original subjects, moral and my own,
and I think one of the grandest that has been
thought of — but nobody knows it. Hence it is
my view to wrap myself in retirement and pursue
these plans, as I begin to feel I cannot bear
trouble of any kind." The last words point to
early symptoms of the mental disorder which was
to shadow the close of his career. Always hypo-
chondriacal, he began, soon after his removal to
Hampstead, to fail rapidly, both in mind and
body. He gave up painting and sank into a state
of almost despair. Thus reduced, his mind turned
back to his wife. In the summer of 1799, without
announcing his intention, he set out for the north.
His wife received him with kindness, and tended
him till his death with the greatest devotion.
He at last sank into a state of helpless imbecility,
and died on the 15th November, 1802, aged not
quite sixty-eight years. He was buried at
Dal ton.
The best characteristics of Romney's art are
grace, pleasant colour, and sympathy with line.
As a draughtsman he gave proof of higher gifts
than either Reynolds or Gainsborough, while he
also excelled those masters in the solid simplicity
of his methods. There is a momentary quality,
too, in some of his best works in which he has
scarcely been surpassed. On the other hand he
was far below Reynolds in intellectual vigour and
variety, below Gainsborough in spirituality, and
below them both in colour and in richness of
chiaroscuro. The following list is confined to his
better or more accessible works : T.S.
Edinburgh. N'at. Gallery. Mrs. Ker of Blackshiels
"™'^°°' IniZL]^^-'^^ of a Child's head.
» ,; Three cartoons from the story
of Orpheus and Eurydioe.
» „ A series of seven cartoons,
illustrating the story of Cupid
and Psyche.
), „ Prometheus. (Cartoon)
„ „ Atossa's Dream. (Do.)
„ „ The Ghost of Darius. (J)o.)
„ „ Medea. (Do.)
n „ Birth of Shakespeare (Do.)
„ „ Infant Shakespeare. (Do.)
n „ Death of Cordelia. (Do.)
J, „ Descent of Odin. (Do.)
London. Nat. Gallery. Lady Hamilton as a Bacchante.
„ „ The Parson's Daughter.
„ Nat. Portrait Gal. Portrait of Flaxman.
„ „ Portrait of Lady Hamilton.
,1 „ Portrait of Eichard Cumber-
land.
Portraits of Maria and Catherine, daughters of Lord
Chancellor Thurlow. [Lord Thurlow.)
Portrait of Mrs. Horsley. (Edward Palmer, Esq.)
Portrait of Anne, Marchioness Townshend. (K. 8.
Holford, Esq.)
Portrait of Mrs. Lloyd. (Lord Rothschild.)
Portrait of Mrs. Townley Ward. (Henry Bucks Gibis,
Esq.)
Portrait of Isabella, Countess of Glencairn. (Rev.
Thomas Hollarid.)
Portrait of Lady Hamilton. (Ayseough Fawkes, Esq.)
Portrait of Lord Berwick. (Lord Berwick.)
Portraits of Mrs. Bosanquet and her five children,
(Sev. G. Posanquet.)
Portrait of Elizabeth, Countess of Derby. (Earl
Granville.)
Portrait of Lady Brooke. (Sir Eichard Brooke, Bt.)
Little Bo-Peep. (Edward Sumhy, Esq.)
Portraits of George and Catharine, children of Sir
George Cornewafi. (Rev. Hir G. Comewall, Bt.)
Flaxman modelling the bust of Hayley. (Col. Dawson
Greene.)
Portrait of Elizabeth, Lady Craven. (H. R. Grenfell,Esq.)
Portraits of Sir Thomas Olavering and his sister. (Sir
Henry Clavering, Bt.)
Portrait of Mrs. Jordan as ' Peggy,' in the ' Country-
Girl.' (Baron Ferdinand de Rothschild.)
Portrait of Mrs. Moody. ( W. S. Stirling-Crawford, Esq.)
Lady Hamilton as a Bacchante. (Lord de Tabley.)
Portraits of Jane, Duchess of Gordon, and her son
George, Marquis of Huntly. (Sir Herbert Eustace
Maxwell, Bt.)
Portrait of George, 1st Marquis Townshend. (Sir
Graham Montgomery, Bt.)
Portrait of Mrs. Morris and Child. (General C. Morris.)
Portrait of Miss Forbes of CuUoden. ( William Lee, Esq.)
Portrait of Lady Hamilton. (Rev. Canon Philpotts.)
Portrait of Mrs. Bankes of Kingston Lacy. (Walter
Ralph Bankes, Esq.)
The Sempstress, portrait of Miss Lucy Vernon. (F. W.
Vernon- Wentworth, Esq.)
Portrait of Lady Hamilton. (Earl of Cawdor.)
Ehodope ; Lady Hamilton as a Wood-nymph, with a
child. (F. W. Vernon- Wentworth, Esq.)
Lady Hamilton as Ariadne. (Sir John Neeld, Bt.)
Portrait of Lady Hamilton. (Baron Lionel de Rothschild)
Portrait of Mrs. Eobinson as ' Perdita.' (J. H. Ander-
son, Esq)
Portrait of William Pitt when a boy. (Sir Coutts
Lindsay, Bt.)
Lady Hamilton as Euphrosyne. (J. Whitehead, Esq)
„ „ St. Cecilia.
„ „ the Spinstress. (Earl of Normanton.)
„ „ Cassandra.
„ „ Joan of Arc. (Late J. H. Anderdon,
Esq.)
„ „ Sensibility.
Children dancing in a ring. (Duke of Sutherland)
Mrs. Yates as the tragic Muse.
Serena,
403
Bomney
A BIOGRAPHICAL DICTIONARY OF
Ronjon
ROMNEY, John, an English engraver, born in
1786. He died at Chester in 1863. Specimens of
liis work are to be found in :
Smirke's illustrations to Shakespeare.
The Ancient Marbles in the British Museum.
Views of Ancient Buildings in Chester. 1851.
Amongst his separate plates are :
The Orphan Ballad Singer ; after Gill.
Sunday Moraiug — the Toilette ; after Farrier.
ROMNEY, Peter, an English portrait painter,
the brother of George Romney. He practised at
Ipswich and Cambridge. He fell into difficulties,
was imprisoned for debt in 1774, and died early.
ROMSTEDT, Christian, an obscure German
engraver, who resided at Leipsic about the year
1670. He engraved a few portraits, which are
very indifferently executed. His plates are marked
with a cipher composed of a C. and an E. It
would seem that there were two engravers of this
name, probably father and son, and that they
worked between 1630 to 1720 ; the younger died in
1725. They not only engraved portraits, but some
plates after the pictures of A. Carracoi in the
Farnese Palace.
EOMOLO, DiBQO, painter, the eldest son of
an obscure painter named Cinoinato Romulo, was
born at Madrid, where he studied under his father,
and was much esteemed. He was favoured by Philip
IV., and was sent to Rome in the suite of the
Spanish ambassador. Here he painted the portrait
of Pope Urban VIII. with so much success that
the Pope conferred on him the title of Cavaliere of
the order of Christ of Portugal. He did not long
enjoy his honours, for he died at Rome a few days
after his investiture, in the year 1625, and was
buried in the church of San Lorenzo.
'ROMULO, Francisco, painter, the second son of
Cincinato Romulo, was born at Madrid, and studied
under his father. In consideration of his brother's
untimely death, Urban VIII. conferred on him the
title Diego had enjoyed for so brief a time, and he
accordingly went to Rome, where he practised with
some success until his death in 1635.
RONCALLI, Gristoforo, called dalle Pomak-
ANCB, born at Pomarance, in the diocese of Vol-
terra, in 1552, studied at Rome under Niccolo
Circignani, also called dalle Pomarance. He
was employed by Paul V. in the embellishment
of the Capella Clementina, where he represented
the ' Death of Ananias and Sapphira ' ; and in the
Basilica of S. John Lateran, he painted a large
picture of the ' Baptism of Constantine. ' He exe-
cuted several other important works in the public
edifices at Rome. In the church of S. Giovanni
DecoUato, is a fine picture by him, representing
the ' Visitation of the Virgin to St. Elisabeth ' ; and
in S. Andrea della Valle, an altar-piece, represent-
ing 'St. Michael discomfiting the Evil Spirits.'
One of his most satisfactory works is the Cupola
of La Santa Casa di Loreto, in which he was em-
ployed through the influence of Cardinal Crescenzi.
At Naples, in the church of San Filippo Neri,
there is one of his best productions, a ' Nativity.'
The pictures of Roncalli exhibit a mixture of
Roman with Tuscan characteristics. In his fres-
coes his colouring is cheerful and brilliant ; in his
oil pictures, on the contrary, his tints are subdued
to a generally quiet tone. He was fond of intro-
ducing landscape backgrounds, which he treated
well. He died at Rome in 1626.
RONCELLI, Giuseppe, painter, born at Bergamo
404
in 1677. He became known for his skill in paint-
ing nocturnal conflagrations, the figures in which
were added by Celesti. He died in 1729.
RONCO, MiCHELB DI, a native of Milan, who
flourished in the latter part of the 14th century.
He painted in the Duomo of Bergamo between
1375 and 1377.
RONDANI, Francesco Maria, born at Parma
about the year 1605, was brought up in the school
of Correggio, whom he assisted in his great work
of the dome of S. Giovanni. In the church of St.
Mary Magdalene, at Parma, is a fine ' Virgin and
Infant Jesus,' which has been sometimes mistaken
for the work of Correggio. His talents were, how-
ever, confined to compositions of a few figures.
One of his most considerable works is a ' St.
Augustine and St. Jerome,' in the Eremitani.
Pungileone often mentions him in connection with
Allegri ; and at the death of the latter, Rondani
inherited the drawings and many of the cartoons
from which he had worked in the Cupola at Parma.
Lanzi says that he had seen one of his Madonnas,
in the possession of the Marquis Scarani, at
Bologna, Mary bearing a swallow in her hand, in
allusion to the painter's name. Rondani's known
works are rare. He died at Parma about the
year 1548.
RONDELBT, Jean and Guillaume, brothers,
flourished in France in the 16th century. In 1552
they were engaged on the decorations of the
palace of Fontainebleau.
RONDINELLO, Niccolo, flourished at Ravenna
and Forli in the last quarter of the 16th century. He
is described by Vasari as one of Giovanni Bellini's
most industrious pupils. He spent his early years
at Venice, and produced pictures that are often
thought to be Bellini's own works. In the Doria
Gallery, Rome, is a 'Virgin and Child with St.
John the Baptist,' signed by Rondinello, that is
an exact counterpart of the same subject painted
and signed by Bellini in the same Gallery. The
identity is so great as to lead Crowe and Caval-
caselle to conjecture, that, while Rondinello
painted the whole of the picture which bears his
name, he also painted a great part of that signed
Bellini, the latter being content to finish his pupil's
work and sign it as his own. The Gallery of
Forli possesses a half-length ' Virgin and Child,'
painted by Rondinello after he left Venice; a por-
trait of a young man in the same Gallery is now
also assigned to him. The Duomo of Forli has a
' S. Sebastian ' by him, in the style of Palmezzano,
whom he seems to have copied in his later years.
In the Brera, Milan, a 'St. John the Evangelist
censing a kneeling female figure wearing a crown,
with angels ministering on each side of the altar,
over which hangs a picture of the Virgin and
Child,' is rightly assigned to this artist. Many
of the churches in Ravenna contain paintings by
Rondinello. No dates are known of either his
birth or death, but he was still alive in the first
years of the 16th century. He usually signed
thus : Nicolaus Rondinelo.
RONDINOSI, Zaccaria, a painter of the Floren-
tine school, working at Pisa between 1666 and
1680. He was mainly occupied with ornament,
and when he died in 1680 he was buried in the
Campo Santo by the Pisans, who there put up a
tablet to his memory.
RONDOLINO II. See Terenzi.
RONJON, Louis Augusts, a French historical
painter, born in Paris in 1809. He studied under
Sonmy
PAINTERS AND ENGRAVERS.
Boos
J. M. Langlois, and obtained a medal in 1834.
During his later years he gave up painting, and
devoted himself to teaching. He died in Paris in
1876. His best known pictures are :
The Assassination of the Diike of Guise.
An Incident in the Life of Kichelieu.
RONMY, GniLLAUME FRiniElc, painter, was
born at Rouen in 1786. He was a pupil of Vien
and of Taunay, and for many years was a frequent
and successful exhibitor at the Salon. He colla-
borated with Provost in his panoramas, notably
those of Rio Janeiro and Constantinople. He died
at Passy in 1854. Among his principal works we
may name : ' The Temple of the Sybil at Tivoli,'
' Henry IV. at the Siege of Paris,' ' A Camp of
Laplanders,' and a 'View of Constantinople.'
RONSE, Philippe, a French artist of the 17th
century, who, in conjunction with Pauvert and
VesprI, painted in the cathedral of Chartres. He
died in 1645.
RONSERAY. See De Lobme.
RONTBOUT, J , a Dutch landscape painter,
whose pictures at first view have a slight resem-
blance to those of Hobbema and Ruysdael. They
are generally of a small size, always on panel, and
represent wooded scenery. The figures are of the
same character as those in Hobbema's pictures
when painted by himself. They are signed with
the name in full, or with a monogram, somewhat in
the manner of Jakob Ruysdael, which has deceived
many into the belief that they are by that artist.
RONZELLI, Fabio, painter, probably the son of
Piero Ronzelli. He flourished at Bergamo sLortly
after 1627, and is known by the ' Martyrdom of
San Alessandro,' which he painted for the church
of Santa Grata, at Bergamo.
RONZELLI, PiBRO, practised at Bergamo about
1600, and became known as a skilful painter of
portraits.
ROODS, Thbodor, (or Db Roodb,) painter and
engraver, bom at Rotterdam in 1736. He travelled
through Belgium and Germany in 1756, and settled
for a time in Vienna, where he was appointed
painter in ordinary to the Archduke Charles of
Austria. He returned to Rotterdam in 1771, and
died in 1791.
ROOKER, Edward, an English draughtsman and
engraver, born in London about the year 1712,
was a pupil of Henry Roberts. He possessed an
admirable talent for engraving architectural views,
of which he has given an excellent example
in his large plate of the Section of St. Paul's
Cathedral, from a drawing by Gwyn, the figures
by Wale. The plates in Sir W. Chambers's ' Civil
Architecture,' several of the plates in Stuart's
' Athens,' and Adams' ' Diocletian's Palace at
Spalatro,' are by him. We have also the following
views :
Four Views in Italy ; after E. Wilson.
Six Views in London ; after F. Sandby.
Twelve Views in England ; after the same.
ROOKER, Michael Angelo, the son of Edward
Rooker, born in London in 1743, was first instructed
by his father in engraving, but was after placed
under the tuition of Paul Sandby, to be in-
structed in drawing and landscape painting. In
1772 he painted and exhibited a view of Temple
Bar, which possessed considerable merit, and was
much admired. For several years he was the
prinfip.il scene painter to the "theatre in the Hay-
market." As an engraver he acquired considerable
celebrity, and for many years engraved the head-
pieces to the Oxford Almanacks. They were exe-
cuted from his own drawings. Rooker was one of
the first Associates of the Royal Academy. About
1788 he began a series of autumn tours on foot,
and made many drawings from picturesque ruins
in Norfolk, Suffolk, Somerset, Warwick, and other
counties. He contributed some of the illustrations
to an edition of Sterne, published in 1772. He
died in London in 1801.
ROOM, Henry, an English portrait painter, born
in 1802. He practised in London and Birming-
ham, and occasionally exhibited at the Academy
between 1826 and 1848. He died in London in
1850. His principal works are :
The Interview of Queen Adelaide with the Madagascar
Princes at "Windsor.
The Caffre Chief's Examination before the House of
Commons' Committee.
Many portraits by him are engraved in the
' Evangelical Magazine.'
ROOS, Cajetan, (Gabtano,) son of Philipp Peter
Roos (Rosa da Tivoli), was an animal and landscape
painter, and practised at Vienna towards the middle
of the 18th century.
ROOS, Jacob, a son of Philipp Peter, commonly
called Rosa da Napoli, was born at Tivoli in 1680,
and painted in Naples in the style of his father.
ROOS, Jan, a Dutch landscape and portrait
painter, born at Amsterdam towards the close of
the 18th century. After a sojourn at Dresden he
went to Italy, and was practising his art at Rome
about 1820.
ROOS, Jan, painter, born at Antwerp in 1591.
He was a pupil of Snyders, and went to study in
Italy in 1615. He was for some time at Rome, and
became famous for his. painting of animals. It is
said that dogs were deceived by the hares he
painted. From his choice of subjects he has been
occasionally confounded with Philipp Peter Roos
(Rosa da Tivoli). He settled later at Genoa, where
his works enjoyed a high reputation. He there
became acquainted with his great countryman,
Vandyck, and was one of the artists who frequented
the salon of Sofonisba Anguisciola. The many
commissions which he received caused him to
work so unceasingly that his health gave way, and
he died at Genoa in 1638. In the church of SS.
Cosmus and Damianus at Genoa there is an
' Entombment ' by him.
ROOS, JoHANN Heinrich, painter and engraver,
was born in 1631, the son of a poor weaver, by
whom he was apprenticed to a painter of little note
at Amsterdam, named Julian du Jardio, for the
term of seven years. Under this master he made
little progress. At the end of his time he studied
under Adriaan de Bie; and it was not long
before he discovered an extraordinary talent for
painting horses, cows, sheep, goats, &c. ; not only
surpassing his instructor, but becoming one of the
most celebrated animal painters of his time. He
frequently placed them in the most singular and
difficult attitudes, but always drew them with the
correctness of character for which he is remark-
able. He was invited to the court of tlie Elector
Palatine, where he painted the portrait of that
prince, and those of his principal courtiers, for
which he was munificently rewarded. He was
employed at several other German courts, but
established himself at Frankfort in 1671, where he
painted his favourite subjects with great success.
His works were purchased with avidity, and he
405
Roos
A BIOGRAPHICAL DICTIONARY OP
Boper
received commissions from almost every court in
Europe. A catastrophe interrupted his career._ In
1685 a great conflagration broke out in the night,
and the house of Eoos was situated in the quarter
in wliich the flames raged with the greatest violence.
Anxious to save some valuable objects, he re-
entered his house, which was already burning
fiercely, and perished. He signed his pictures J.
H. Roos, the initials being welded into a monogram.
Works :
Berlin. Museum. Italian landscape with Cattle.
Dresden. Gallery. Cattle, Sheep, and Goats in a
landscape.
„ Cattle and old 'Woman in a
„ „ Landscape with Sheep and
Shepherd.
Munich. Gallery. Nine Landscapes, with Cattle.
J. H. Roos has left a series of excellent etchings ;
the following are tl:e best :
A set of eight Plates of Animals ; dated 1665.
A set of twelve Plates of domestic Animals.
Two large Landscapes, with Ruins and Animals.
A Shepherd sleeping at the foot of a Monument, near
his Flock.
ROOS, JOHANN Melchior, the younger son of
Johann Heinrich Roos, was born at Frankfort in
1659. After being taught some time by his father
he travelled to Italy, where he studied a few years,
and on his return to Germany settled at Nurem-
berg, where he met with considerable encourage-
ment as a painter of history and portraits, but his
inclination leading him to paint landscapes and
animals in the style of his brother, in the latter
part of his life he devoted himself entirely to that
branch, in which, although he never reached the
excellence of Rosa da Tivoli, his pictures possessed
sufficient merit to win him the patronage of the
Landgrave of Hesse Cassel. He died in 1731.
Works :
Dresden. Gallery. Stags under an Oak. Signed
J. M. Boos fecit 1714, the J
and M interwoven.
Hampton Court. Cattle at a Fountain.
There is only one etching known by this artist.
It represents a Bull standing, seen in front ; it is
inscribed J. M. Roos, fee. 1685.
ROOS, Joseph, the son of Cajetan Roos, was
born at Vienna in 1728. He painted landscapes
and cattle with considerable success, and was
much employed by the Elector of Saxony. He
was a member of the Dresden Academy, and was
afterwards keeper of the Imperial Gallery at Vienna.
His principal works are at Sohoenbrun. We may
also name :
Dresden. Gallery. Landscape with Sheep and
Shepherd. Signed Joseph
Moosf. 1765.
We have a few etchings by this artist, among
them the following :
A set of six Plates of various Animals ; inscribed Joseph
Eoos, inv. et fecit, aquaforti. 1754.
Ten Plates of Sheep and Goats.
ROOS, Philipp Peter, called Rosa da Tivoli and
Mbrcurius, was the son of Johann Heinrich Eoos,
and was born at Frankfort in 1657. Endowed
with genius by nature, and assisted by his excellent
father, he gave early proofs of capacity, and was
noticed by the Landgrave of Hesse, in whose
service his father at that time was. He took him
under his protection, and to promote his improve-
406
ment sent him to Italy, with an allowance sufficient
for his support. On his arrival at Rome his appli-
cation was so exemplary that he was regarded as
the most laborious young artist of his time. _ He
designed every object from nature, and to facilitate
this practice established himself at Tivoli, where
he kept a kind of menagerie, for the purpose of
drawing animals with the greater correctness. His
pictures are painted with equal vigour and pre-
cision. His colour, though it has darkened much
with time, is good. It is in inability to compose
that he betrays his chief defect as an artist. As a
man, he was given up to dissipation. Rosa da
Tivoli died at Rome in 1705. His few etchings
of pastoral subjects are very scarce. Works :
Dresden. Gallery. Seven landscapes with Cattle,
jj „ Noah surrounded by the
Animals.
Florence. Uffid. Cattle on theEoman Campagna.
„ „ Cattle at Pasture.
Paris. Louvre. Wolf devouring a Sheep.
Vienna. Liechtenstein Col. Sheep and Shepherd.
ROOS, Theodor, the younger brother of Johann
Heinrich Roos, born at Wezel in 1638. He was
first a scholar of Adriaan de Bie, but afterwards
was instructed by his brother. In 1669 he was
invited to the court of Mannheim, where he was
taken into the service of the Elector. _ His first
performance was a group of portraits of the
principal magistrates, still preserved in the council
chamber. He afterwards visited with success
several other courts of Germany. The Duke_ of
Wtirtemburg employed him in several historical
works, and appointed him- his principal painter.
He was present in Strasburg when it was taken in
1681 by the French, by whom he was treated with
great courtesy. The pictures of this Roos are
chiefly confined to Germany. His touch is firm
and facile, his drawing weak, his colouring vigor-
ous and clear. Theodor Roos has left a set of six
etchings, small upright landscapes, with ruins,
dated 1667. He died in 1698.
ROOSE, NiooLAES. See De Liemakee,
ROOSMALE, (or Roozmale). See Rosemalb.
ROOSTER, Adkiaan, (or De Rooster,) landscape
painter, born at Mechlin. He was a pupil .of
Gaspard Poussin, and practised in Italy in the 17th
century.
EOOTIUS, Jan Albbrtz, (or Rootseds,) born
at Hoorn about 1615, was a disciple of Pieter
Lastman, under whose instruction he became
eminent as a portrait painter. Some of his pic-
tures in the hall of the Archer's Guild, in his
native town, prove him to have been an artist of
considerable ability. They consist of three large
groups of portraits of the members. Rootius
died in 1674. In the Amsterdam Museum there
are by him :
Portrait of Vice-Admiral Jan Corn. Meppel, signed
J. A. Rootius, 1661.
Portrait of a Child. Same signature, and the date 1652.
ROOTIUS, Jakob, (or RooTSEns,) a younger
brother of Jan Rootius, born in 1619, was a
scholar of J. D. de Heem, and painted in his
manner ; and, it is said, approached him closely in
excellence. He died in 1681.
ROPER, , an English artist mentioned by
Edwards as a painter of sporting pieces, race-
horses, dogs, and dead game. Some of his pic-
tures were in tlie exhibitions in Spring Gardens in
1761 and 1762, dates he did not long survive.
Boqueplan
PAINTERS AND ENGRAVERS.
Sosa
ROQUEPLAN, Camille Joseph Etiennb, (or
ROCOPLAN,) a French genre, landscape, and marine
painter, born at Mallemart (Bouches-du-RIi6ne)
in 1800. He entered the Ecole des Beaux Arts in
1818, and studied under Gros and Abel de Pujol.
Notwithstanding this training amongst the "classic-
ists " he won fame as a " romanticist," and gained
great reputation by his works founded on subjects
from Sir Walter Scott. In his latter years he
suffered much from illness. He died in Paris in
1865. Tlie following is a list of his more important
works :
Bordeaux.
Ohartres.
Grenoble.
Havre.
Leipsic.
Lille.
Paris.
Louvre.
Versailles. Gallery.
Valentine and Baoul.
Child playing with Cat.
Coast View.
Sea Piece.
The Harbour of Boulogne.
Death of the Spy, Morris (' Rob
Roy ').
View on the Coast of Normandy.
1831.
Battle of Blchingen. 1837.
„ „ Battle of Bocoux.
„ „ Portrait of the Mar^chal, Marquis
de Chastellux.
ROQUES, GuiLLADME, or Joseph", painter, born
at Toulouse on the 1st October, 1754, was the son
of a respectable workman of that city, and showed
such an early inclination for art, that at eleven
years old he entered the Ecole des Beaux Arts of
Toulouse, then directed by Rivalz. His talent and
industry enabled him to distinguish himself in all
competitions, and a youthful picture of ' Amyntas '
was pronounced to be a work of precocious promise.
The young painter ardently wished to visit Italy,
and, provided with a little store of money which
his mother had saved, he set out for Rome when
about 22 years old. Here he was kindly received
by Vien and David, and formed a friendship with
the latter, who assisted him in many ways. His
Italian studies proved of great service, and on his
return to his native place he was overwhelmed
with commissions. Among his pupils was Ingres,
in whose development he took a special interest,
and with whom he always remained on terms of
affectionate intimacy. After the Revolution Roques
was appointed director of the Art School at Mont-
pellier, but his affection for his native town
induced him to resign his post for a Professor-
ship at the ficole des Beaux Arts at Toulouse,
and there he remained until his death in 1847,
at the age of 91. His best known works are the
following :
Portrait of his Mother. (Toulouse Museum)
■ The Tomb of Amyntas. (Toulouse Museum.)
The Communion of the Duke of Angouleme. (Toulouse
Museum.')
Shepherds of the Valley of Campan. (Toulouse
Museum.)
Marat in the Bath.
The Death of Lucretia.
Cupid and Psyche. (A lamplight effect.)
RORBYE, Martin Christian Wesseltoft,
painter, born at Drammen in Norway, in 1803,
entered the Academy at Copenhagen in 1819, and
learned drawing under Eckersberg. From 1834
to 1837 he was travelling through Italy, Greece,
and Turkey. On his return home he received the
Thorwaldsen medal for his picture of a 'Turkish
Notary settling the Marriage Articles,' and then,
with his ' Life in the East,' he won the Fellowship
of the Academy. In 1839 he went to Italy, where
he painted his 'Market in Amalfi.' He died in
Copenhagen in 1848. The Copenhagen Gallery
possesses the following pictures by him :
Chapel of St. Benedict at Subiaco.
Oriental Chess-players.
A Holiday at Cape Skagen.
Arcade of the Town-haU of Copenhagen.
RORE, (BoKUS,) Jacques. See Db Rooke.
ROSA, Aniella di. See Beltuano.
ROSA DA Napoli. See Rocs, Jakob.
ROSA DA TlvoLi. See Roos, Philipp Peter.
ROSA, Cristoeoro, bom at Brescia about the
year 1520, excelled in painting perspectives;
and lived in habits of intimacy with Titian, by
whom he was occasionally employed to paint the
architecture in some of his pictures. There are
several of his works at Brescia and at Venice,
particularly in the antechamber to the library of
St. Mark, in the latter city. He died of the plague
in 1676.
ROSA, Francesco di, called Pacicco, painter,
bom at Naples about the year 1600, was brought
up in the school of Massimo Stanzioni. His easel
pictures are frequently found in private collections
at Naples, and he painted some altar-pieces for the
churches, of which the best, perhaps, are his St.
Thomas Aquinas, in the Sanita; and the Baptism
of S. Candida, in S. Pietro d'Aram. He died at
Naples in 1654.
ROSA, Pietro, son of Cristoforo Rosa, was born
about 1550. From the friendship that existed
between his father and Titian, he was received
into the school of that great painter, of whom he
became a favoured disciple. His best works are
in the cathedral and the churches of S. Francesco
and le Grazie at Brescia. This promising young
artist died of the plague, in the same year with
his father and his master, Titian.
ROSA, Salvatoee, born at Renella near Naples,
in 1615, was the son of Vito Antonio (an archi-
tect and land surveyor) and Giulia Grecca Rosa.
His parents intended him for the Church ; with
that view he was sent to the College of the Con-
gregazione Somasca at Naples. His impetuous
character and temperament seem to have brought
him into great trouble, and he left before his
education was completed. He returned home, and
as his sister meanwhile had been married to Fran-
cesco Francanzani, an artist of the Spagnoletto
school, the lad was often found in the work-room
of his brother-in-law. There he first displayed his
talent, and encouraged by Francesco, he was
enabled to earn enough to procure himself clothes
and sustenance. Impatient, however, of restraint,
in his eighteenth year he left Naples, and after
wandering about he joined himself to a body of
banditti, who infested the Abruzz! ; to this sojourn
may be traced many of those robber pictures
which so especially distinguish this artist. Under
what circumstances Salvator returned to Naples is
unknown, but it is certain that he did so during
the residence of Lanfranco in that city. A few
days after his return his father died, bequeathing
to the care of his son a poverty-stricken family.
Oppressed by want and privation, he used to expose
his pictures for sale in the street, till one day
Lanfranco happening to be attracted by a ' Hagar '
thus exposed for sale, purchased it. It is asserted
by some that Lanfranco sought Salvator's acquaint-
ance, and assisted him, though the fact of his
continued poverty seems to be in strong disproof
407
Rosa
A BIOGRAPHICAL DICTIONARy OF
Bosales
of this idea. But the bare circumstance of being
brought into notice, though it exposed him to
much envy and hatred from less favoured rivals,
acted as a spur on his drooping spirits, and was
the means also of gaining for him the friendship
of Aniello Falcone, one of the best pupils of
Spagnoletto, who may be looked upon as the
first painter of battles. In 1634 poverty made
him resolve to leave Naples and visit Rome. There
he maintained himself by his sketches for some
time, but under the influence of malaria his mental
energy gave way, and he returned to Naples, de-
prived of hope and strength. Soon after his
return, however, he agreed to accompany his
fellow-student Girolamo Mercuri, who had been
appointed Chamberlain to Cardinal Brancacoia,
back to Rome. This led to his being commis-
sioned to paint the portico and loggia of the
Cardinal's palace at Viterbo, and also an altar-
piece for the Chiesa della Morte, in the same
city. After a year's residence in the Episcopal
Palace of Viterbo, Salvator returned to Naples,
from whence he sent to Rome his great picture,
' Prometheus,' which gained him such reputation
as to induce him to return there. Belonging,
however, to no school, he was unable to win for
himself the footing he wished, till the Carnival
of 1639, when, flinging aside his palette, he came
forth as a poet, singer, and actor, and found all
Rome at his feet. After this outburst he applied
himself with increasing success to painting. From
1639 to 1647 he produced numbers of gloomy
forests, rocky defiles, and storms at sea, as well
as subject pictures and a few altar-pieces for the
churches of Lombardy. In 1647, hearing of the
approaching revolution in Naples, he shut up his
house in Rome, and hastening to his native city,
joined himself to Masaniello, together with his old
friend Aniello Falcone and his pupils. After the
death of Masaniello, Falcone fled to France, where
he spent the rest of his life, and Salvator returned
to Rome, where he painted his ' La Fortuna ' and
' L'Umana Fragilita,' for which he was threatened
by the Inquisition, to escape wliioh he fled in the
train of Prince Giovanni Carlo de' Medici to
Florence, where he was received in triumph.
While at Florence he formed a great friendship
with Lorenzo Lippi, himself a poet and painter,
whom he assisted in his pictures. After a re-
sidence of five years in the Tuscan capital, he left
it in 1652 to return to Rome, where he established
himself in a house on the Monte Pincio. During
this period he painted his ' Jonas preaching at
Nineveh,' for the King of Denmark, and was chosen
to paint a picture as an offering from the Court of
Rome to King Louis XIV. of France, which resulted
in the battle-piece now in the Louvre. In 1661,
on the occasion of the marriage of the Heir
Apparent of Tuscany to Marguerite d'Orleans, he
again visited Florence, but soon returned to Rome,
where, in 1668, he alone of living artists was
allowed to exhibit his pictures, and the works
then shown were his ' Triumph of St. George,'
and ' Saul and the Witch of Eudor.' His last work
of any importance was a 'S. Turpin,' finished in
1670, after which his faculties began to fail, and
in 1673 he died at Rome. His principal pictures
Dulwich.
Dusseldorf. Gallery.
Edinburgh. Nat. Gall.
Florence. Gallery.
Fitti.
Genoa. Gataneo Palace.
Glasgow:
London.
Gallery.
Nat. Gall.
The Entombment.
Landscape.
Kockj Landscape.
Two Studies of Men in Armour.
(Also etched by Salvator.^
Landscape, with Figures a.nd
Cattle.
Landscape.
The Leucadian Leap.
Wo^d Scenery.
Portrait of Himself.
Battle-piece.
Two Sear Views.
Fear.
Temptation of S. Anthony.
Justice.
Jonah at Nineveh.
Hagar in the Desert.
The Catiline Conspiracy.
Fall of the Giants.
Christ clearing the Temple.
Jeremiah restored to Liberty.
Pythagoras.
Landscape, with Waterfall.
A Landscape with the fable of
Mercury and the Woodman.
Forest Scene, with Tobias and
the Angel.
Eiver Scene.
Landscape with Figures.
JJ
''^f::'}^ Holy Family.
»J
„ Jacob attending his Flock,
„ The Soothsayers.
Milan.
Chiesa della ) . __„, ,.
)j
Brera. Purgatory.
Naples.
^t:?.f^^:}^-^-p--
„ ai
San Martino. St. Nicolas of Pari.
Paris.
Louvre. Saul and the Witch of Endor
)5
„ Large Battle-piece.
Petersburg. fTermz/ayc. The Prodigal Son.
»j
„ Nausicaa and Ulysses.
»
„ Democritus and Protagoras.
))
„ Soldiers Gaming.
„ Three Portraits.
)»
„ Four Landscapes.
Rome.
Fal. Colonna. St. John Preaching.
jj
„ St. John in the Desert.
Corsini. Two Landscapes.
p
„ Prometheus.
Barherini. St. Jerome in the Desert.
J)
iSpada. Four Landscapes..
))
Eospialiosi. Sear View.
Dublin. Nat. Gallery.
Dulwich. Gallery.
408
Baptism of Christ (?).
Soldiers Gaming (study for the
Hermibage picture).
Pool with Monks Fishing.
Salvator was a free and excellent etcher ; he has
left 40 plates, of which the following are perhaps
the best:
St. William, the Hermit.
Plato, and his Scholars.
Battle of Tritons.
Soldier sitting on a Hill.
ROSA, SiGlSMOKDO, an Italian painter of the
18th century, and a pupil of Giuseppe Chiari. He
practised in Rome, but never attained to much
excellence in his art.
ROSA, SiKio. See Badalocchio.
ROSA, Sted'ANO, painter, a native of Brescia,
the brother of Cristoforo Rosa, with whom he was
associated in decorative and architectural painting.
He also painted portraits and historical subjects.
He was working at Brescia about 1670.
ROSALBA. See Caekiera.
ROSALES, Eduardo, painter, born at Madrid in
1837. He studied at the Academy of Madrid under
Ferrant and Madrazo, and completed his education
at Rome, where the works of the old masters
exercised a strong influence on his art. Returning
Kosaliba
PAINTERS AND ENGRAVERS.
Rosenbrun
to Spain he worked for a time in Murcia, oocupying
himself principally with subjects from Arab life.
His first exhibited work of importance was the
' Isabella dictating her Will,' for which he. gained
honours at the Paris Exposition of 1867. He was
appointed Director of the Spanish Academy at
Rome, and died there on the 13th September,
1873. Among his pictures we may also name :
St. Joseph, (/m the church at Vergara.)
Don John of Austria at S. Tuste.
King Amadeo's entry into Madrid.
Death of Lucretia.
Portrait of Don Garcia Aznar.
The two Evangelists, St. John and St. Matthew. {For
the church of S. Tom&s at Madrid.)
ROSALIBA, Antonello, a painter of Messina,
who flourished in the first years of the 16th cen-
tury. He was one of the latest artists of the
insular school, before it became fused in that of
Italy. His works have now disappeared from his
native island. A ' Virgin and Child,' painted for
the village church of Postunina, was one of the
last to remain in Sicily.
ROSASPINA, Francesco, engraver, born at
Rimini in 1762, was a pupil of Bartolozzi, and at
first worked in the dot manner. Afterwards, how-
ever, he produced plates in line and aquatint, and
made drawings in sepia. He was a member of
the National Institute, and a professor of the
Bologna Academy. He died in that city in 1841.
Among his best plates we may name :
Dance of Cupids ; after Alliano.
Cupid bending his Bow ; after Franceschini.
St. Francis of Assisi ; after Domenichino.
Dead Christ ; after Correggio.
Love ; after Guercino.
Mary Magdalen ; after Cagnacci.
A series of Napoleonic Battles ; after Appiani.
A series of twenty-five plates in the chalk manner;
after Farmigiano.
He also superintended the engraving and pub-
lication of. the work entitled ' La Pinacoteca,' con-
sisting of about seventy-two of the best paintings
in the Academy of the Fine Arts at Bologna. He
signed his plates sometimes with his full name,
sometimes with his initials separately, and some-
times with a monogram.
ROSCH. See Resch.
ROSE, Nicholas. See De Liemaker.
ROSE, Susan Penelope, miniature painter, was
the daughter of Richard Gibson, the Dwarf, by
whom she was probably instructed in the rudiments
of her art. She was the wife of a jeweller, and
painted portraits in water-colours with great
freedom. Her miniatures were of a larger size
than usual, and possessed considerable merit. She
died in 1700.
ROSE, William, landscape painter, was born in
1810. He exhibited frequently at the Royal
Academy, and with the Society of British Artists,
views taken from the rural scenes of the Home
Counties, such as 'Kentish Heath Scene,' 'Clover
Time,' ' Ashdown Forest,' &c. He died at Eden-
bridge in 1873.
ROSEL, August Johann von Rosenhof, painter
and engraver, born at Augustenberg in Arnstadt,
in 1705, was a pupil and cousin of the fresco and
animal painter, Wilhelm Rosel, and studied in the
Academy at Niiremberg. At tirst he devoted him-
self to architectural painting, but afterwards to
natural history, especially insects. He died at
Nuremberg in 1759,
ROSEL, von RosEN^ioif Fbanz, (ROslbb, Rose-
lids, RoosHOFF,) an animal painter of Niiremberg,
who lived in the 17th century. In the Munich
Pinakothek is a picture of a ' Wolf Devouring a
Lamb,' which formed the subject of a contest
between Rosel and Paudiss, in which the former
was victorious, while the latter, if we may believe
Descamps, died of grief at having lost. In the
Augsburg Gallery there are a 'Pox devouring a
Hen,' and 'A Cock,' by him.
ROSELLI, Mati'EO, (Rosselli, ) born at Florence
in 1578, was first a pupil of Gregorio Pagani, and
afterwards of Passignano, with whom he visited
Rome, and improved his style by studying the
works of Raphael and Pohdoro da Caravaggio.
On finishing his studies at Rome he returned to
Florence, where he resided for the remainder of his
life, and his works are little known out of that
city. He was much employed by the Grand Duke
Cosimo II., and embelUshed the Poggio Imperiale
with several frescoes, representing the history of
the Medici family. He sometimes emulated the
style of Lodovico Cardi, called Cigoli, as particularly
appears in his picture of the 'Nativity,' in the
church of S. Gaetano, which is considered his finest
work, and in the ' Martyrdom of S. Andrea,' at the
Ognissanti. Roselli excelled in fresco painting, in
which his works still retain their pristine purity
and freshness. Roselli founded a school, in which
Manozzi, Volterrano the younger, and others were
scholars. He died in 1651.
Florence. SS. Annun- \ Pope Alexander VI. approving
nata. j the Statutes of the Servites.
„ Ognissanti. Martyrdom of S. Andrew.
„ S. Gaetano. The Nativity.
„ Fittz. The Triumph of David.
„ m)'!:i. His own Portrait.
„ Academy. Adoration of the Magi.
" "verialT' J -A-Uegorical history of the Medici.
ROSELLI, NiccoLO, of Ferrara,floui-ishedaboutthe
year 1568. He is supposed to have been brought
up in the school of the Dossi ; though in some of
his works in the Ferrara Certosa he appears to
have imitated the style of Benvenuto Garofalo.
He painted several pictures for the churches in his
native city, among which are an altar-piece in the
cathedral, representing the 'Virgin and Infant in
the clouds, beneath, St. John the Evangelist and St.
Anthony ; ' and a ' Purification,' in the church of
S. Maria Bianca.
ROSENBERG, Friedbich, an obscure painter
and engraver, born at Dantzic in 1758. He lived
for some time in Switzerland and in Holland, and
finally settled at Altona. He died after 1830.
ROSENBERG, Geoege F., a water-colour painter,
who practised at Bath, and from 1849, in which
year he was elected an associate of the old Water-
Colour Society, exhibited landscapes, chiefly moun-
tain scenery from Scotland and Norway, painted
with much ability. He died at Bath in 1869.
ROSENBERG, Johann Geoeg, a painter, born at
Berlin in 1739, was a cousin of Johann Karl Wil-
helm Rosenberg. He was principally employed on
theatrical scenery, though he also painted portraits
and views of Berlin.
ROSENBERG, Johann Karl Wilhelm, painter
and engraver, born at Berlin in 1737, was mainly
a scene painter. But he engraved a few plates,
among them a Head after the style of Rembrandt.
He died in 1809.
ROSENBRUN. See Rottmayr Von Rosenbrun,
409
Bosendaal
A BIOGRAPHICAL DICTIONAEY OF
HOBBX.
EOSENDAAL, Nicholas, painter, bom at Enk-
huizen, in Holland, in 1636. He accompanied
Jakob Torenvliot to Rome in 1670, and died
in 1686.
EOSENFELDER, Karl Lddwig, painter, born
on the ISth July, 1813, at Breslau. He began his
art studies in 1832 as a pupil of Hensel, at the
Berlin Academy, of which he subsequently became
a member. In 1846 he was appointed Director of
the Art School at Konigsberg, and held that post
until his retirement upon a pension in 1874. A
visit to Italy occupied him in 1851-1852, and in
1865 he was engaged in painting the hall of the
Konigsberg University with pictures having refer-
ence to the Faculties. After his retirement he
continued to live at Kongisberg, and died there
in 1881. Among his works we may mention :
Arrest of Philip of Hesse by order of Alva.
Bienzi's Imprisonment at Avignon.
The Electress of Brandenburg receiving the Sacrament
according to Protestant rites.
Occupation of the Marienburg by the Mercenaries of
the Teutonic Knights in 1457.
Charles I. taking leave of his Children.
Mourners praying at the Bier of Henry IV. (Cologne
Museum.)
EOSENHAGBN, Nioolaas, a Dutch still-life
painter of the 17th century, who worked in the
style of J. De Heem. The details of his life are
unknown. In the Hague Museum there is a picture
of fiuit by him.
EOSENTHALEE, Kaspab, Johann, and Jakob,
three brothers, natives of Nuremberg, who
flourished at the beginning of the 16th century,
and established themselves at Schwaz, in the
Tyrol. Kaspae was an architect and wood-
engraver, and is known by two extant wood-outs,
' Legend des heiligen Vatters Francisci ' (Legend
of St. Francis), and ' Leben unseres erledigers Jesu
Christi ' (Life of our Eedeemer). He built the
church and cloister of the Franciscans at Schwaz,
and his brothers decorated the walls with paintings
representing scenes from the Passion. Kaspar
died in 1514.
EOSEE, EDMi M. B., (or Eoesek,) born at
Heidelberg about 1737. He was a pupil of
Loutherbourg, and in 1765 settled in Paris,
where he gained a reputation as a skilful restorer
and copyist. He restored several of the pictures
in the Louvre. He died in 1804.
EOSETTI. See Eoveee.
EOSETTI, DoMENico, born at Venice in the last
half of the 17th century, painted architectural per-
spectives with some success, but is chiefly known
as an engraver. He was invited by the Elector
Palatine to Diisseldorf, where he engraved twelve
large plates of scenes from the history of Alex-
ander, after Gerard Lairesse, which are now very
scarce, as few impressions were taken. He exe-
cuted several plates for the collection of prints
after some of the most celebrated pictures at
Venice, published in that city by Domenico Louisa
in 1720. He engraved the prints for a ' History of
the Bible,' printed at Venice in 1696 ; and several
single plates after Palma Vecchio, the Bassani,
Tintoretto, P. Liberi, and others. Zani says he
was at work as early as 1675. The year of his
death is not known.
EOSEX, Nicola, (or Niooletto,) called also
NicoLETTO DA MoDENA, an Italian engraver and
goldsmith of the 16th century, was bom in Modena.
Two only of his works are dated ; these bear the
years 1500 and 1512 upon them. At various stages
410
his style changed from the imitation of Mantegna
to that of Schongauer, Albrecht Diirer, and finally
Marc-Antonio. His execution was rude, and his
plates vary greatly in appearance and merit.
Those which may be given to him with confid-
ence are between seventy and eighty in number,
a total which would be greatly increased if we
accepted the early prints ascribed to him by
Bartsch. His most frequent monograms were
the two here given, Jjy^. orJS^o but he
marked his plates in a great variety of ways,
seldom, however, omitting to sign them altogether.
His better plates, perhaps, are the following :
The Adoration of the Shepherds, with his name.
St. Sebastian, marked Niccolleto, on a tablet.
Another St. Sebastian ; inscribed Ora pro noHs Sancte
Sebastiane.
St. Jerome Beading ; with the monogram.
St. George, with his name.
St. Martin; inacnhedi Divo Marti ; with his name on a
tablet.
A Triton embracing a Syren ; marked N. M. on a
tablet.
A whole-length Figure of Christ standing on a pave-
ment of square stones, &c. Monogram.
St. Sebastian, bis arms tied over his head to a column,
pierced with six arrows. Name at full length on a
step.
St. Sebastian, his arms tied over his head to a column,
and is pierced with three arrows. Monogram.
St. George in complete armour, standing in the centre
of the print. Name at full length on the frieze of a
triumphal arch. (British Museum.)
St. Catherine standing, holding a palm branch in her
left hand, &c. Name at full length on the base of a
piUar on the right.
Mars in Armour, standing in the middle of the print,
companion to the St. George. Name on a tablet
hung to a tree on the left.
Three Children ; one kneeling in the centre, one on
the left raising his left hand, and one on the right
raising his right hand. Name at full length on a
scroll.
A Female wearing a Helmet, &c., pouring incense on
an Altar. No mark.
Perseus and Pegasus. Perseus holding the bridle of
the horse with both hands.
The Nativity, in a richly decorated ruined Stable.
St. Cecilia standing.
Christ crowned with Thorns ; beneath, a Bishop and a
King, with their attendants, kneeling.
St. Jerome in Penitence.
Group of Four Women. Copy from Albrecht Diirer.
Hercules and the Cretan Bull.
Two whole-length Figures on one plate.
Two winged Boys supporting a Standard. (British
Museum.)
St. Eoch, with a long staff in his right hand, sitting in
an arched building. Landscape with the sun rising
in the distance.
A Marine Monster holding a Sea-horse ; a Boy with a
Torch and Olive-branch sitting on its tsdl. N. M.
on a tablet.
A Man crowned with Laurel looking at some geometri-
cal figures : ' Appeles Poeta,' &o. (British Museum.)
David holding the Head of Goliath. The monogram
at bottom on the left.
St. Anthony standing amidst Buins, turned to the left,
holding a book in his right hand to his breast, and in
his left hand a crutch and a bell ; landscape in the
distance, and the pig is partly seen on the left.
Monogram at bottom on the right.
A Saint, with a large bag on his back, running towards
the left. In the background a landscape with ruins.
The monogram on a stone.
Lazarus, with two Dogs hcking his Sores. Monogram.
Victory. A winged Female Figure standing on the
rums of a large building, holding a lance in one hand,
and a laurel wreath in the other. On a pillar on the
right, ViCTOEiA, and above, N E.
Koshoff
PAINTERS AND ENGRAVERS.
Koss
Fame. A winged Female sitting on some armour
writing Fama Volat on a shield. N M on a pillar
to the right.
Neptune holding a Trident, sitting turned to the left ;
his left hand is on an urn from which water flows ;
on the right is a niche with an altar, and a tablet
with the letters ONBM. On Neptune's chair, Nep-
THNI SiMOLACKON.
Mercury standing, the winged cap on his head and the
caduceus in bis right hand. On the pedestal of a
pillar NJ.EO.
Mercury standing, caduceus in his left hand, a flute in
his right ; head three-quarters turned to the right.
On the pedestal of a pillar, Meeoueio. At bottom
in front, N. R. at the side of a vase.
Four Children round a Tree. One on the right sits on
a round pedestal ; the second leans its head on the
knee of the first ; the third is on horseback ; and the
fourth standing. In the centre is a tree with a tablet
suspended, on which is inscribed. Opus Nicoletti
DE Mdtina.
The Vestal Tuccia carrying "Water in a Sieve, to prove
her virginity. At top on a scroll hangs a tablet with
the artist's monogram.
Goldsmith's Ornament. A Vase surrounded by four
Wreaths of Boses. The letters N. E. are by the side
of a smaller Vase with pointed top.
A similar Ornament with the letters N. B., but without
the smaller Vase.
Saint Dominic.
The Deceitful Tongue.
Vulcan and Cupid.
Christ with a Globe in His Hand. (British Museum.)
ROSHOFF. See Rosel, August Johann.
ROSI, Alessandro, said to have been born at
Florence in 1627, was a scholar of Cesare Dandini,
under whose tuition he became a reputable painter
of history. There are many of his pictures in the
churches and private collections at Florence. The
cathedral at Prato possesses a ' S. Francesco di
Paolo ' by him ; and two good Bacchanalian sub-
jects used to be in the collection of the Grand
Duke. He died at Florence in 1697.
ROSI, Giovanni, a Florentine painter of the
17th century. He was one of the artists who
formed an early school of landscape painting in
Italy before the time of Salvator Rosa. He was
working about 1620.
ROSI, Zanobi, painter, a native of Florence. He
was one of the pupils of Christofano AUori, and
completed some of the pictures left unfinished by
his master, so that he was still living in 1621,
the year of Allori's death.
ROSITl, Giovanni Battista, an artist of Forli,
mentioned by Lanzi as a contemporary of Palme-
giani, was the author of a ' Virgin and Child ' of
much merit in the church of S. Maria dell' Orto at
Velletri, bearing the following inscription: "Jo.
Baptista de Rositis de Forlivio pinxit, I. S. 0. 0. de
Mense Martii."
ROSLANBY, Wells, ornamental painter and
designer, practising in London in the second half
of the 18th century. He died October 1, 1776,
and his wife is said to have starved herself to
death from grief at his loss.
ROSLBR, Johann Kael, (or Rosslbk,) portrait
painter, born at Gorlitz on the 18th May, 1775.
He began life as a smith, but at the age of tw-enty
determined to become an artist. He worked in-
dustriously at the Dresden Academy, and gained
further knowledge by studies in Italy. In 1810
he became a member of the Dresden Academy,
and five years later was appointed Professor. He
died at Dresden in 1845. Among his best works
are:
The Marys at the Sepulchre.
The Elector Maurice of Saxony after the Battle of
Sievershausen.
Portrait of the Baroness von der Eecke.
Portrait of King Anthony of Saxony.
Portrait of the Actor and Entomologist Ochsenheimer.
ijn the Dresden Galtery.)
ROSLER, MicHAKL, an obscure German engraver,
who resided at Nuremberg about the year 1626.
He engraved several portraits for a folio volume,
published in that city, entitled ' Icones Bibliopo-
larum et Typographorum.' Zani mentions a
Michael Rosier as a German engraver who flour-
ished about 1728 ; and Nagler a Rossler of Niirem-
berg, as living in the first half of the 18th century.
ROSLIN, Alexander, a native of Sweden, born
at Malmoe in 1718, worked in Paris as a portrait-
painter, and in 1753 became a member of the
Academy. In 1765 he gained a prize in competition
with Greuze for a family portrait for the Duke
of Rochefoucauld. He married Mdlle. Giroust, a
French artist, and after her death returned for a
time to Sweden. He subsequently painted for a
time in Russia. His portrait of the Duchess Marie
Christine of Saxony was engraved by Bartolozzi.
Roslin died in 1793. The following are among his
best known works :
Paris. Zouvre. Portrait of a Lady. {La Cane
Collection.)
Stockholm. Gallery. Portrait of Gustavus III. aiid
his brothers, Prince Charles
and Prince Frederick. 1771.
„ „ Bust Portrait of Gustavus III.
1775.
„ „ Portrait of Duke Frederick
Adolphus, brother of Gusta-
vus Adolphus. 1770.
„ „ Portrait of the Painter's Wife.
1763.
ROSLIN, Mabib Suzanne, {nee Gikoust,) the
wife of Alexander Roslin, the Swedish painter,
was born in France in 1735. She practised in
pastel at Paris with so much success that in
1770 she was. elected an Associate of the Academy.
She died in Paris in 1772.
ROSS, F. W. R., an English natural history
draughtsman, born in 1792. He was an officer in
the Royal Navy, and practised art as a pastime.
He applied himself chiefly to drawings in illustra-
tion of natural history, particularly excelling in
the rendering of birds, which he treated with
much delicacy and finish of draughtsmanship, and
brilliancy of colour. His later years were passed
at Topshara (Devon), where he died in 1860.
ROSS, H., miniature painter, a Scottish artist,
whose father was a gardener in the service of the
Duke of Marlborough, and who gained a certain
celebrity by the portraits and portrait groups in
miniature, which he exhibited at the Royal
Academy in the early years of the present century.
He was the father of Sir W. Ross.
ROSS, James, an English engraver, born in
1745, was a pupil of R. Hancock. We have by
him several views of the city of Hereford, very
neatly engraved ; they are small plates, and
are taken from drawings by G. Powle. He also
executed some plates in illustration of Green's
' City of Worcester,' and of a ' History of Tewkes-
bury.' He died at Worcester, 1821.
ROSS, Karl, a painter, born at Altekoppel, in
Holstein, in 1816. After studying from 1832 to
1836 in the Academy of Copenhagen he went in
1837 to Greece, where he worked at landscape
411
Koss
A BIOGRAPHICAL DICTIONARY OF
Bossetti
painting for two years, and then went to Munich.
From 1842 to 1843 he lived in Rome ; in 1846 he
was in Paris ; in 1850 in Rome again. Among
his works we may name, 'Naxos,' 'Temple of
Phigalia in Arcadia,' and a ' Forest Party.' He
died at Munich in 1867.
ROSS, Mrs. Maria, an English portrait painter,
born in 1766. She was the sister of Anker Smith,
the engraver, the wife of H. Ross, miniature painter,
and the mother of Sir W. C. Ross, R.A. She
sometimes exhibited at the Academy, commencing
in 1811, and occasionally painted history. She
died in London in 1836.
ROSS, Robert TnoRBnRN, a Scottish subject
painter, born at Edinburgh in 1816. He was a
pupil of Simson and Sir W. Alien. In early life
he practised as a portrait painter in pastel, but
became better known as a painter of genre. His
pictures have an echo of the pastellist about them.
His works first appeared in 1845 at the Scottish
Academy, of which he became an Associate in
1862, and a full member in 1869. He died in 1876.
Amongst his chief pictures were :
The Thorn in the Foot.
The Spinning-wheel.
Cottage Children.
Highland Pets.
The Broken Pitcher.
■Wha's at the Window?
ROSS, Sir William Charles, an English minia-
ture painter, born in London in 1794. He was
the son of H. and Maria Ross. Both his parents
being artists, he at a very early age showed a
predilection for art. He entered the schools of
the Academy in 1808, and made distinguished
progress, and winning many prizes. He was also
awarded by the Society of Arts no less than seven
premiums between 1807 and 1821. His two chief
works at this time were ' The Judgment of Brutus,'
and ' Christ casting out Devils among the Tombs.'
His name first appeared in the Academy Cata-
logues in 1809, when he was scarcely sixteen
years of age, and for several years he exhibited
historical works, to which he devoted much atten-
tion. But in 1814 he became an assistant to
Andrew Robertson, a miniature painter on ivory,
to which branch of art he at length wholly
applied himself. He obtained a large practice
in the highest circles. The Queen, the Prince
Consort, and their family sat to him, as well as
the King and Queen of the Belgians, the King
and Queen of Portugal, Napoleon III., &o. It is
said that the total number of his miniatures exceeds
2200. In 1838 he was elected an Associate of the
Royal Academy, becoming a full member in the
following year, when he also received knighthood.
In the cartoon competition of 1843 he won a pre-
mium of £100 with an ' Angel Raphael Discoursing
with Eve.' He continued in full practice, holding
the first rank in his art, until 1857, when he was
struck by paralysis. After a period of consider-
able suffering he died, unmarried, on January
20th, 1860.
ROSSELL, Josef, a Spanish painter and mem-
ber of the Academy of St. Biirbara at Valencia,
who is known as the author of a ' St. Luke ' on
linen, presented to the Academy in 1754.
ROSSELLT, CosiMO (di LonENZO di Filippo Ros-
SELLl), born at Florence in 1439, was a pupil of Neri
de Bicoi from 1453 to 1466, and is then thought
to have won the friendship of Benozzo Gozzoli.
At some period of his life he visited Lucca, for a
fresco by him can be seen above the portal of the
church of S. Marline, besides other paintings in that
city. In the court of the SS. Annunziata, Florence,
412
is a fresco representing ' Beato Filippo receiving the
Habit of the Servites from the Virgin,' which is
said to have been painted in 1476. In 1480 Ros-
selli was invited to Rome by Sixtus IV. to compete
with Ghirlandaio, Signorelli, and Perugino, in the
decoration of the Sixtine Chapel ; and according
to Vjsari gained the Pope's approbation over his
rivals through the immense quantity of gold and
ultramarine used by him in his pictures. His sub-
jects were the ' Passage of the Red Sea,' ' Moses
delivering the Tables of the Law,' ' The Sermon
on the Mount,' and 'The Last Supper.' Rosselli's
masterpiece is a fresco in the chapel of the S.
Sacrament in S. Ambrogio, Florence, which repre-
sents ' The Exhibition of a Miracle-working Chalice.'
Amongst his pupils and assistants were Piero di
Cosimo and Fra Bartolomraeo. In 1496 he valued
Baldovinetti's frescoes at S. Trinila, Florence, and
he died in 1507, in which year he made his will.
Pictures by this artist are to be found in the churches
of S. Ambrogio and S. Maria de' Pazzi, Florence,
also in :
Berlin. The Gallery. The Virgin in Glory.
., , Christ in the Tomb.
„ „ Massacre of the Innocents.
Florence. S. Ambrogio. Procession of the Miraculous
Chalice.
„ „ The Assumption.
" "^^ ^'iSa'^"' ] Coronation of the Virgin.
„ S. Annunziata. The Virgin delivering to St. Philip
Benizzi the garb of the Servites.
„ Academy. St. Barbara Triumphing.
London. Nat. Gall. St. Jerome and Saints (from the
Euccellai chapel in the Eremiti
di S. Girolamo at Fiesole).
Lucca. S. Martinn. Christ taken down from the Cross.
Paris. Louvre. Virgin Glorified.
Eome. Sistine Chapel. Passage of the Red Sea.
„ „ Sermon on the Mount.
„ „ The Last Supper.
EOSSET, ■ — , a French landscape painter of the
18th century of some talent, who was employed at
Sevres to paint landscapes on porcelain.
ROSSETTI, Cesare, an Italian painter of the
17th century, the pupil and assistant of the Cavaliere
d'Arpino, under whom he worked at the decoration
of San Giovanni Laterano during the pontificate of
Clement VIII.
ROSSETTI, Gabriel Charles Dante, painter,
was born May 12th, 1828, at 38, Charlotte Street,
Portland Place, London. Though an Englishman
by education and adoption, bis family was of Italian
origin, and had once borne the name of Delia
Giiardia, Rossetti being merely a sobriquet which
gradually crystallized into a surname. His father,
Gabriele Rossetti, was a native ofVasto d'Ammone,
a small town of the Abruzzi, on the Adriatic
coast. He was the author of various critical and
poetical works, became well known as a comment-
ator on Dante, and held the appointment of keeper
of bronzes in the Museo Borbonico at Naples. In
1820 the elder Rossetti took a prominent part, both
as a politician and as a writer of patriotic songs, in
the national moveuient by which the King of the
Sicilies was forced to grant a constitution to his
subjects. When, in 1821, Ferdinand, backed by
an Austrian army, entered his kingdom to annul
the lately-won charter, Gabriele Rossetti was com-
pelled to fly. He escaped to Malta, and eventually
to England, where he settled, and in 1831 became
Professor of Italian literature at King's College,
London. Shortly after his arrival in England he
married Frances, the daughter, by an English wife,
Bossetti
PAINTERS AND ENGRAVERS.
Bossetti
of Gaetano Polidori, sometime secretary to Alfieri.
The second child of this marriage was the poet-
painter, Dante Rossetti, the most famous of a gifted
quartet. His eldest sister, Maria, is known as the
author of a critical work, called ' The Shadow of
Dante.' His brother, William Michael Rossetti, has
an established reputation as a critic and poet, and
his younger sister, Christina, takes high rank among
nineteenth-century poets.
The early childhood of Rossetti was not, on the
whole, remarkable, though he is said to have shown
his artistic bent at a very early age, and mention is
made of various precocious juvenile efforts, which
were, however, chiefly literary in character. He
received his education at King's College School,
where he remained until about 1843, at which
time he began his art education in Sass's School.
Here he studied until 1846, when he was admitted
to the Royal Academy Schools. He stopped short,
however, of the Life School, and never thoroughly
mastered the difficulties of drawing the human
form. On his leaving the Academy Schools in
1848, Rossetti, who had been greatly attracted by
some exhibited works of Ford Madox Brown, asked
permission to attend his studio as a pupil.
In Mr. Madox Brown's studio Rossetti painted
his first work in oil, a portrait of his father, and
in 1847 he took a studio in Cleveland Street, Fitz-
roy Square, jointly with Mr. Holman Hunt.
In the autumn of 1848, Rossetti, whose great
personal charm, no less than his brilliant intel-
lectual and artistic qualities, had gathered round
him a circle of gifted young sympathizers, became
the prime mover in the famous ' Pre-Raphaelite '
revolt. In strict adherence to his new principles
Rossetti painted his ' Girlhood of Mary Virgin,'
which was exhibited in 1849, and, together with
other productions of the brotherhood, raised a
storm of indignant criticism. By the large class
who decline to judge of any artistic endeavour
save from their own accepted standards, the new
movement was savagely denounced, and it was
not till many years later that its quickening in-
fluence upon English art came to be widely
acknowledged. The idea of an organ to spread
the ideas of the brotherhood occurred to Rossetti
in the autumn of 1849, and in January 1850,
appeared the first number of ' The Germ,' a title
which gave place in the third number to the less
happy one of ' Art and Poetry.' The short-lived
periodical came to an end with its fourth number.
It claims a special interest in connection with
Rossetti's career, not only as having been the
summary and exposition of the new gospel, but
as the vehicle by which he first became known to
the world as a poet. It contained in all twelve
contributions by him, among them the prose
allegory ' Hand and Soul,' and the poem, ' The
Blessed Damozel.' Rossetti gradually drifted
away from the objective truth of the three
pictures, which alone, amongst his important
works, were conceived and painted according to
the principles of the ' Germ.' These are the ' Girl-
hood of Mary Virgin,' the ' Ecce Ancilla Domini,'
and the unfinished ' Found.' From the year 1853
onwards his art took on an individual character
which was too soon to develop into mannerism.
" His aim in art," says one of his biographers, " was
to have something to say first, and then to say it
beautifully." It is on his powers as a oolourist
that his fame as a painter must rest, and as such
he has been too often compared with the great
Venetians ; but in his completest works — those pro-
duced between 1864 and 1870 — he achieved a splen-
dour of colour that has seldom been surpassed in
modern times. From 1850 to 1860, Rossetti did
comparatively little work in oil. The worship of
Dante was strongly manifested in his choice
of subjects at this period, to which belong the
series of water-colours inspired by passages in the
' Vita Nuova ' and the ' Divina Commedia.' For
water-colours he found at one time a much more
ready sale than for his work in oil, and to this
it is due that he produced so much in the lighter
medium. In 1857 he visited Oxford with Mr
Woodward the architect, who was then engaged
on the new building for the Union Club, and
it occurred to Rossetti that a fine effect might
be gained by the decoration of the bays in the
Debating Room with a series of wall-paintings in
tempera, from the ' Morte d'Arthur.' The funds of
the committee being insufBcient to enable them to
give a commission for the work, Rossetti, jointly
with William Morris, E. Burne Jones, and other
artists whom he had succeeded in interesting in
the scheme, consented to undertake the frescoes
gratuitously, the club defraying the actual outlay
for material, &c. Rossetti chose for his subject
' Sir Launcelot before the Shrine of the Grail,' but
he never completed the fresco, for in a very short
time it was discovered that the paint, laid on a
new wall without any sort of special preparation,
would, after a while, completely shell off from
the plaster. These frescoes are now mostly
obliterated, but a memorial of Rossetti's work
at the Union survives in a design of ' Arthur and
his Knights at the Round Table,' which was carved
in stone and coloured by Mr. Munro, and is in the
tympanum of the porch.
About 1850 Rossetti took rooms at 14, Chatham
Place, Blackfriars. In the beginning of 1851 he was
introduced by the painter Deverell to Elizabeth
Eleanor Siddall, a beautiful girl, who was afterwards
the model for some of his most famous works, and
in whom he found a type of feminine loveliness
which, variously idealized or modified, he never
wearied of reproducing. She had some artistic
aptitude, which Rossetti undertook to cultivate,
and the result was the marriage of the master and
pupil in 1860, after a long engagement. After the
birth of a still-born child in 1861, Mrs. Rossetti's
health gradually failed, and consumptive tendencies
developed. She died in February 1862, from the
effects of an overdose of laudanum. Rossetti's
grief was deep, and on the day of her burial he took
the manuscript of all his poems (of most of which
at that time there existed no other copy), and
placed them as a last gift in her coffin. From this
time he abandoned literary effort for some years,
though not, as some have said, all creative work,
for to the years 1862-1869 belong, among others,
the three pictures which show his technical power
at its highest level — the ' Lady Lilith,' the ' Monna
Vanna,' and 'The Beloved,'— as well as the ' Beata
Beatrix.' On the death of his wife Rossetti gave
up the rooms in Chatham Place, and after a stay
of six months in some chambers in Lincoln's Inn
Fields, he took No. 16, Cheyne Walk, Chelsea, where
he settled in the autumn of 1862. At first he
occupied the house jointly with his brother and his
friends, Algernon Charles Swinburne and George
Meredith. But these drifted away one by one.
Between 1869 and 1874 the residence at Cheyne
Walk was varied by visits to Kelmscott Mail or,
413
Kossetti
A BIOGRAPHICAL DICTIONARY OP
Kossi
near Leclilade, which the artist rented jointly
with Mr. William Morris. Two visits to Penkill
Castle, in Ayrshire (1868 and 1869) are memor-
able, as daring his stay there he thought out
some of his finest poems. These visits to Soot-
land, and a few short tours in France and Belgium,
make up the sum of Rossetti's journeyings outside
England. Great as was his sympathy with all
things Italian, he never saw his father's country.
In Rossetti, two metiers were so closely allied, that
in any sketch of his career it is difficult to consider
him as either solely poet or painter. In many
instances a picture was the illustration of a poem,
or a poem the elaboration of a picture. Thus the
'Blessed Damozel' was the subject of two oil-
paintings, while the 'Girlhood of Mary,' 'The
Passover in the Holy Family,' ' Mary Magdalene,'
' St. Luke,' ' The Lady Lilith,' ' Sibylla Palmifera,'
' Fiammetta,' ' The Day-Dream,' ' Astarte Syriaoa,'
' Proserpina,' and ' La Bella Mano,' have all their
counterpart in sonnets. These illustrative sonnets
it was occasionally his practice to write on the
frames of the pictures to which they referred.
In the year 1869, Rossetti was prevailed upon by
his friends to allow the exhumation of his buried
MSS. , and in 1870 the first collection of his ' Poems '
appeared. They at once attracted attention and
praise, mixed with strong dissent. About this time
symptoms of weak health appeared. He had
inherited weak sight from his father, which now
became much aggravated, and gave him great
uneasiness. A severe illness in 1872 seems to
have completed the gradual break-up in his health,
and from thenceforth he suffered terribly from
insomnia. To obtain relief, he took to chloral,
with the usual results. In 1881 he made an ex-
pedition to the Vale of St. John, near Keswick,
but it led to no improvement in his condition.
Earlj' in 1882 he went to Birchington, near Mar-
gate, and there, on the Easter Sunday of 1882, he
died. Rossetti made ten designs for book illus-
tration: one for W. Allingham's 'Night and Day
Songs ' ; five for the edition of Tennyson published
in 1857; two in 1862, for 'The Goblin Market,
and other Poems,' ofhis sister Christina ; and two,
in 1866, for her ' The Prince's Progress, and other
Poems.' He also designed two windows and a
panel for the pulpit in St. Martin's, Scarborough ;
as well as a window to the memory of his aunt,
Miss M. M. Polidori, in Christ Church, Albany
Street. The following list includes, in chrono-
logical order, all his important pictures in oil.
For those in other media we must refer the
reader to the exhaustive table appended to Mr.
William Sharpe's biography. F.S.
Portrait of Gabriele Eossetti. {Miss C. Polidori.)
Girlhood of Mary Virgin. {Lady Louisa Fielding.)
* Bcce Ancilla Domini.' [NatioTial Gallery.)
Dante and Beatrice. {J. Leathart, Esq.)
Bocoa Baeiata. ((?. P. Boyce, Esq.)
Portrait of A. C. Swinburne, Esq.
Portrait of Mrs. D. G-. Rossetti. {Arthur Severn, Esq.)
Bard Alane. (J. Leathart, Esq.)
Fair Eosamond.
Triptych. I^Llandaff Cathedral.)
Girl at Lattice. {G. P. Boyce, Esq.)
Female Head. {George Bae, Esq.)
Portrait of Mrs. Leathart. {J. Leathart, Esq.)
Beata Beatrix. (Lord Mount Temple.)
Aurelia ; originally Fazio's Mistress. (George Bae, Esq.)
The Loving Cup.
The Blue Bower. (Mrs, Dyson Perrins.)
Joan of Arc. (J. Anderson Bose.)
Monna Pomona. (A. lonides, Esq.)
414
II Eamoscello.
The Beloved ; or, The Bride. (George Bae, Esq.)
Sibylla Palmifera. (So.)
Monna Vanna. (Do.)
Venus Verticordia. (John Mitchell, Esq.)
Portrait of his Mother. (Mrs. Bossetti.)
Eetum of TibuUus to Delia.
Joli Goeur. (W. A. Turner, Esq. )
Monna Eosa. (F. B. Leyland, Esq.)
The Loving Cup. (Do.)
Portrait of Mrs. Lushington. (Do.)
Venus Verticordia. (Late W Graham, Esq.)
Mariana. (Do.)
Dante's Dream. ( Walker Gallery, Liverpool.)
Water "Willow. (W.A. Turner, Esq.)
Beata Beatrix. (Late W. Graham,, Esq.)
Veronica Veronese. (F. B. Leyland, Esq.)
La Ghirlandata. (Zate W. Graham, Esq.)
Dis Manibns. (F. B. Leyland, Esq.)
Fleurs de Marie. (Late W. Graham, Esq.)
Damsel of the Sang Eeal. (George Bae, Esq.)
Portrait of Mrs. Morris. (fVm. Mwris, Esq.)
La Bella Mano. (F. S. Ellis, Esq.)
Head of the Blessed Damosel. (Lord Mount Temple.)
Pandora. (Late J. Graham.)
Astarte Syriaca. (O. E. Fry, Esq.)
The Sea Spell. (F. R. Leyland, Esq.)
The Blessed Damozel. (Mrs. Dyson Perrins.)
Proserpina. (W. A. Turner, Esq.)
Dante's Dream, with predella. (Joseph Busfon, Esq.)
La Donna della Finestra. {F. S. ElUs, Esq.)
The Day Dream. (Con. lonides, Esq.)
The Blessed Damozel. (F. B. Leyland, Esq.)
Salutation of Beatrice.
BOSSETTI, Giovanni Paolo, painter, a native
of Volterra, flourished about the year 1568. Ho
was a nephew of Daniele Ricciarelli, called di
Volterra, ijnder whom he studied at Rome, and
is said to have painted history with considerable
success. After the death of his uncle he left
Rome, and returned to Volterra, where he executed
some altar-pieces for the churches, of which one
of the most esteemed was a ' Descent from the
Cross,' in S. Dalraazio. He is said to have been
still alive in 1600.
ROSSI (or Rosso), Antonio, the elder, painter,
born at Zoldo in Cadore, in the second part of the
15th century. He is said by Lanzi to have been
the first master of his great compatriot Titian, and
painted numerous works in tempera, in an archaic
and angular style. His period of greatest activity
extends from 1472 to 1607. Numerous works of
his now lost or obliterated are mentioned in
ancient records. Of those still extant there are :
Altar-piece in the churcb of San Lorenzo, at Selva in
Cadore ; painted in 1472, and signed Antonius Rubens
de Cadubrio pinxit.
Fresco of Christ and the Twelve Apostles, in the church
of San SUvestro suUa Costa, near Serravalle ; signed
ATito Boso de Cadore.
Altar-piece (St. Martin sharing Ms Cloak) in the church
of Vigo di Cadore. (1492.)
Virgin and Child with SS. Bartholomew and Sylvester,
formerly in the church of Nabii, now in the possesi-
sion of Signer Eighetti of Venice. This last picture
is signed Antonius Zaudanus (Antonio of Zoldo).
Altar-piece lately in the possession of Signora Lando-
nelli, at Venice ; signed and dated 1494.
Virgin with Saints ; signed and dated 1494. Formerly
in the church of Tjban, near Belluno.
Virgin with St. Sebastian and a Bishop ; signed ; Fonzaso,
near Feltre.
See Crowe and Cavalcaselle, ' Painting in N. Italy,' vol.
ii. pp. 172-3.
ROSSI, Andrea, an Italian engraver, born about
1726. There are several heads of popes engraved
by him, and subjects after Carracci, Novelli, Frezza,
and others. He died in 1790. The following
prints may be named :
Kossi
PAINTERS AND ENGRAVERS.
Bossi
Portraits of Joseph II. and the Archduke Leopold ;
after Pompeo Batumi.
A Bust of the Virgin ; after Carlo Bold.
St. Margaret of Gortona kneeling before a Crucifix;
after Pietro da Cortona.
ROSSI, Agnolo, a Genoese painter, bom in
1694. He was a priest, and the best-known pupil
of Domenico Parodi. In style he was a disciple
of Maratti, but he also treated humorous subjects
with success. He died in 1765.
EOSSI, Anibllo, painter, born at Naples about
1660. He was one of the favourite scholars of
Luca Giordano, and, with Matteo Pacelli, accom-
panied his master to Spain, and remained with
him as his assistant during his long sojourn at
the court of Charles II. and Philip V. His services
were rewarded by a handsome pension, and return-
ing to Italy with his master in 1702, he settled at
Venice, where he lived in ease and independence
till his death in 1719.
EOSSI, Antonio, born at Bologna in 1697 (1700),
was educated in the school of Cavaliere Marc An-
tonio Francesohini, of whom he was a favourite
disciple, and who recommended him, in preference
to his other pupils, to execute the commissions he
himself was incapable of undertaking. Of the
numerous pictures he painted for the public edifices
at Bologna, his ' Martyrdom of S. Andrea,' in the
church of S. Domenico, is perhaps the best. He
was much employed in painting figures in the archi-
tectural views of Orlandi and P. Brizzi. He died
in 1750 or 1753.
ROSSI, Bernardino db. See Dei Rossi.
EOSSI, Cablantonio, a Milanese painter, born
about 1581. He painted a 'San Siro' for the
cathedral of Pavia, in the manner of the Proeac-
cini, and is said to have been the master of Carlo
Sacchi. He died in 1648.
EOSSI, Enba, a Bolognese painter of the 17th
century, mentioned by Malvasia as a pupil of the
Oarracci, and an artist of some merit. ' He painted
numerous works for the churches of Bologna and
its neighbourhood.
ROSSI, Francesco dbi. See Dei Rossi.
ROSSI, Giovanni Battista, an engraver, to
whom is attributed a set of perspective views of
Rome, published in 1640.
ROSSI, Giovanni Battista, painter, a native of
Rovigo, born about 1627. He was a pupil of Dario
Varotari, and practised for a time at Padua, where
he painted a picture for the church of San Clemente.
He settled later at Venice, where he was still
living in 1680.
ROSSI, Giovanni Battista, called II Gobbing,
(the little hunchback,) a Veronese painter of the
i7th century. He was one of the best known of
the disciples of Alessandro Turchi, and practised
with credit for many years at Verona.
ROSSI, Girolamo, called de Rcbeis the elder,
bom at Rome about the year 1630, was brought
up at Bologna, under Simone Cantarini. His
instinct led him more to engraving than painting,
and he has left several plates after Bolognese
painters, which possess considerable merit ; among
them are the following :
The Portrait of Pope Pius V. ; after Scipione Gaetano.
Two Cupids playing ; after Guercino.
The Virgin and Child, with St. Jerome and St. Francis ;
after Zodovico Carracci, inscribed, Hieronimus de
Muheis pictor, delineavitj incidit.
S. Carlo Borromeo kneeling before a Crucifix ; after
An. Carracci.
A half-length figure of the Virgin.
St. John the Baptist ; after Ouido.
Two Children ; after the same.
EOSSI, Girolamo, called de Eubeis the younger,
son of Girolamo Rossi, was born at Rome about the
year 1680, and chiefly resided in his native city,
where he engraved a variety of plates after the
Italian painters. He also executed several portraits
of the cardinals of his time, for a series which was
afterwards continued by Pazzi and others. They
are feebly engraved. We have also by him the
following prints :
The Virgin and Infant Jesus ; after Oorreggio.
The Martyrdom of St. Agapita ; after Gio. Odazzi.
Nagler gives a list of twenty-one prints by the
younger Eossi, among which he enumerates those
of Pope Pius v., and of S. Carlo Borromeo kneel-
ing, attributed above to his father. According to
Zani, he was at work as late as 1749, but none of
I the dates quoted by Nagler come near to that
period.
EOSSI, Giuseppe, engraver and draughtsman.
He practised at Florence in the inrst half of the
19th century, and his drawings and engravings,
particularly some of the ' Campo Santo ' at Pisa,
show considerable talent, but his promise was cut
short by his death in 1848, while still a young man.
ROSSI, Lorenzo, an Italian painter of the Floren-
tine school, a pupil of Pier Dandini. He imitated
the manner of the Flemish artist, Lieven Mehus,
and painted small pictures of much delicacy and
elegance. He died in 1702.
ROSSI, LoRETTO d'Ugolino, painter. Of this
artist nothing is known, but a 'CruciSxion' at
Berlin bears the following inscription : " Questa
tavola sefatte fare per Loretto d'Ugolino de Rossi
la quale a fatteta fare beltrame distoldo de Rossi,
1475."
ROSSI, Mozio, painter, was born at Naples in
1626, and was for some time the disciple of Massimo
Stanzioni. From the school of that master he went
to Bologna, where he frequented the academy of
Guide, and at the age of eighteen was sufficiently
advanced to compete with the ablest artists of his
time. An altar-piece for the Certosa, a ' Nativity,'
was considered a marvel of precocity. On his
return to Naples, he was engaged to paint the
tribune of S. Pietro in Majella, which he had not
entirely finished when his career was cut short by
his death, in 1651, at the age of 26.
ROSSI, N1COOL6 Maria, painter, was born about
1645, at Naples. He was a pupil of Luca Giordano,
and a successful imitator of his style. In some
of his more important works his master furnished
him with designs, for the paintings in the Chapel
Royal at Naples, for instance. He was much
esteemed for his life-like rendering of animals.
He died in 1700.
ROSSI, Pasquale, called Pasqualino, bom at
Vicenza in 1641. Without the instruction of a
master, h.e is said to have reached a respectable rank
as an historical painter by studying and copying
the best works of the Venetian and Roman schools.
Of his pictures in the churches at Eome, the best
are : ' Christ praying in the Garden,' in S. Carlo al
Corso ; and the ' Baptism of Christ,' in S. Maria del
Popolo. In the church of the Silvestrini, at Fabri-
ano, there is a ' Madonna ' by him ; but perhaps
his best production is an altar-piece in the cathedral
at Matelica, representing St. Gregory interceding
for the soiils in Purgatory. He also painted gallant
assemblies, musical parties, &c. He died in 1700.
His death has been put as late as 1725.
415
Bossi
A BIOGRAPHICAL DICTIONAKY OF
Bothwell
ROSSI, Pbopeetia, a lady of Bologna, best
known as a sculptor and carver, bat who also
engraved npon copper, and learnt drawing and
design from Marc Antonio. Sbe is said to hare
been remarkable for her beauty, Tirtues, and talents,
and to have died at an early age in 1530, in conse-
quence of unrequited love. Her last work was a
bas-relief of Joseph and Poriphar's wife !
ROSSIGXULI, Jacopo, painter, a native of Leg-
horn, who, towards the close of the 16th cenmry,
settled in Piedmont, and was appointed painter to
the Court of Savoy. He was a contemporary of
Ardente and Giorgio So!eri,and a scccessful imitator
of the style of Perino del Vaga, in his painting of
grotte.sJU. He died probably in 1604, for a Latin
epitaph on his tomb at San Tommaso in Turin
beats that date.
ROSSIGXOX, Louis Joseph Toussatst, historical
painter and portraitist in pistel, was bom at
Avesnes, on the last day of 1781. He was a pnpfl
of Vincent and of the Ecole des Beaux Arts.
Among Lis works we may mention :
Ibe Si^e of Missolongbi.
Zenobia greeted by Shepherds.
Death of General Sowinski.
He sent his last picture to the Salon in 1 850.
ROSSITER, Thomas, was bom in 181'?. at Xew
Haven, Connecticnt, where he made his first art
studies, and where, in iJ?-??, he began his career as
a portrait painter. Two years later he came to
Europe, visiting London, Paris, tnd Rome, where
he lived for five years. On his return to New York
in 1846. he became kno^\-n chiefly as a painter of
historical and Scriptural subjects, and in 1849 he
was elected Member of the National Academy, his
Associateship dating from l*!"!). After a second
European sojonm, he settled at Coldspring, on the
Hudson, in 1860. He died during a visit to Rome,
in 1871. Some of his works have been engraved.
They are carefully and conscientiously executed,
but are deficient in life and animation. Among the
best known are :
He last Hoots of Tasso.
Captive Jews m Baby km.
The Wise and Foolish Yii^;ins.
The Ascenaon.
Washington in his lihraiy.
Washington's First Cabinet.
The Prince of Wales at Washington's TOmb.
ROSSLER, JoHAXs "Kxw.. See RCslee.
ROSSMAESSLER, Johaxx August, was bom at
Leipsic in 1752. and was instructed in design by
Frederick Oeser. He engraved a great variety rf
vignettes and other plates for books, and also a
few views in the environs of Leipsic. He died at
Iieipsic in 1783.
ROSSMAESSLER, Johasx Fmedkich, an en-
graver, bom at Leipsic in 1775, engraved plates
for Sir Walter Scott's novels after Westall and
Leslie, and also plates for Bnlwer Lytton"s " PUgrima
of the Rhin&' He died at Leipsic in 1858.
ROSSO. AsTosio. Stjc Rossl
rosso! Il (MaItre Boux). See Dei Rossi.
ROSSCM. J. TAX, was a Dutch painter of the 17th
century. He worked in the style of MetsiL There
is a picture by him in the gallery at Vienna of
an old gentleman walking in a park. In 1654 be
painted a portrait of the priest, J. A. Husinga,
which was engraved by Matham.
ROSWORM, , a painter, of whom scarcely
anything is known. He was in England about
416
the year 1665, and copied some of Sir Peter Lely's
pictures in small.
ROTA, Maetd.-, an eminent engraver, bom at
Sebenico, in Dalmatia, about the year 164<J. but who
chiefly resided at Rome and Venice. By whom he
was instructed in the art of engraving is not_ ascer-
tained. His plates are executed entirely with the
graver, and though not very highly finished, they
are wrought in a neat, clear style. His print
after Michelangelo's ' Last Judgment ' is con-
sidered his masterpiece. This fine print, which is
inscribed Martinus Rota, 1569, has been copied
by Leonard Gaultier, but his version may easily be
distinguished from the original, not oijy by its
inferiority, but by the fact that the head in the
portrait of M. Angelo in a small oval at the top, is
tnmed towards his right shoulder in the original,
while in the copy it is towards the left. There is
another copy by J. Wierix. Rota engraved sorae
plates from his own designs. He usually signed
his plates with his name, but sotnetimes marked
them with a monogram, consisting of an )L and
a wheel (rota) by the side of it, ^\£ . ^M . The
following are his principal plates :
POKTKAITS.
Uaxiimlian TT ^ Bom. Imp^. 1575.
The Emperor Bodoli^ IL 1592 ; witli the ophra:
Ferdinand I. in the costmne of his time. 1373l
Henzy IT., King of France.
Albert a Lasko.
ETrBJECTS.
The Besonectiora ; dated 1577. (From Us mm desiffm.')
The same subject, diffeze^iily ^»ited. (From kis oru
des/ffn,}
The Murder of the Innocents. {From kis om desiffn.')
The Last Jndgmoit ; dedicated to Bodolph IL 1573.
Anotiier print of the Last Jadgment. This piste was
left imperfect at his deaiii, and was finished fcy
another hand. (From his on desiffiL)
l%e Scffinging of Christ. 1563. {From Jus arm <&£»>.)
"BiiB 'Umijidomot St. Feist; after IJtiaa.
21.17 Uagdalaie pontait ; after Hu same.
Fromethens chamed to the Bo^ ; after tie same.
CiuJst aiqieaiiiig to St. Peter ; ^ier BafaeBe. 1563.
BOTABI, PiKTBO. See Dei Botael
ROTENBECK, Gecegb Da>-iix, bom at Xurem-
berg in 1645, was a historical and portrait painter
of some merit, and also a good draughtsman and
modeller. He died about 1705.
ROTEPtM-iXS. See RcDERm>rr.
BOTERMUXD, Julius Wilhelm Louis, a Ger-
man historical painter, bom at Hanover in 18-6.
He studied tinder Bendemann, who at his eariy
death — he died at Salzbmnn, Silesia, in 1859 —
finishe-i his last woit, ' The Dead Chr^' which is
now in the Dresden Gallery.
ROTH, Petkb, painter, practised at Cologne,
where he became well known as a skilful restorer
of old pictures, and also as a portrait painter of
some merit. He died in 1866.
ROTH, WlLUAM, an English portrait and
miniature painter, in the second half of the 18th
century. He exhibited at the Incorporated Society
in 1768. and for some time after practised at
Reading.
BOTHWKLL, RicBABD, an Irish portrait and
subject painter, bom at Athlone in 1800. In 1815
he commenced his studies in the Dublin Society's
schooL He practised in the Irish metropolis ifor
a few years, and was elected a member of the
Hibernian Academy. Comir.g to London he
Bothwell
PADTTEBS AXD ENGRAVERS.
Iloag«moiit
assisted Sir Thomas Lawrence, and occasionally
exhibited at the Boyal Academy from 1830 on-
wards. But success did not wait npon him, and
he migrated to Dublin, Leamington, Paris, and
finally to Borne, where he died in 1868. Works :
The Little Boamer. (South Kensington 2taseam,)
Xovici&te Uendicants. {1 he same.)
The Very Pictare of Idleness. (The same.)
Portrait of HnsUssoa. (National Portrait Gallery,
LondonS)
field-Marshal Lord Beresfotd. (The same.)
ROTHWELL, Thomas, an obscure engraver.
He was bom in 1742, and died at Birmingham
in 1807.
ROTTENHAilEB, Thomas, painter, practised in
German J- in the 16th century. An artist of this
name was employed in connection with the ducal
stables at Munich.
BOTTEXHAMMER, J0HA2W, bom at Munich in
1564, was instructed in the rudiments of design bv
an artist named Donaner. At an early period of
his life he went to Bome, where it was not long
before he distinguished himself by painting small
pictures of historical subjects, which, though they
retained somewhat of the German taste, were in-
geniously composed, and handled with neatness
and spirit. He had acquired some reputation by
his easel pictures, when he was commissioned to
paint an altar-piece for one of the churches at
Bome, and discovered unexpected ability. A
desire to better his colour prompted him to
visit Venice, where he particularly devoted him-
self to studying the works of Tintoretto, in the
&;nola di S. Bocco, and he appears to have imitated
the style of that master wilh some success. During
his stay at Venice he painted a few pictures for the
churches. Ferdinand, Duke of Mantua, employed
him in several considerable works. After a resid-
ence of many years in Italy he returned to his
native country, and established himself at Augs-
burg, where he met with great encouragement.
He was patronized by the Emperor Budolph XL,
for whom he painted a capital ' Feast of the Gods.'
His cabinet pictures are by no means uncommon.
The backgrounds are frequently painted by Jan
Breughel, and sometimes by Paul BrilL He was
fond of decorating his compositions with rich and
splendid accessories, and of introducing node
figures. Rottenhammer died at Augsburg in 1623.
Works :
Berlin. Museum.
Dresden. Gallery.
Glasgow. Gallery.
n «
London. Kat. Gallery.
Hmuch. Gallery.
The Alts : Poetry, Music, Paint-
ing, and Architectore.
Virgin and Child, with Angels
bringing fruit and flowers.
Banqaet of the Gods.
Adoration of the Shepherds.
Fan and Syrinx.
Jndgment of Paris. 1605.
The Idst Judgment.
Diana and Actaeon.
Holy Family ; in a landscape
by J. Brueghel.
Death of Adonis.
Holy Family.
Two ' Banquets of the Gods.'
ROTTERMOXDT. See Rodekmont.
ROTTJIA^N, Fbiedbich, painter and draughts-
man, bom at Handschuhsheim, near Heidelberg,
a self-taught artist, known chiefly by his water-
colour sketches of military life. He became teacher
of drawing at the University, and was commissioned
to make sketches of local scenery by the Duke of
VOL. II. E E
Paris. Louvre.
Petersburg. Bermitage.
Nassau. He died in 1817. By him are the follow-
ing pictures, which he also etched :
The Fight for the Xeckar Bridge.
Battle near Handschohsheim.
Storming of the Bridge at Heidelberg.
BOTTMAXS", Kabl, son of Friedrich Bott-
mann, was bom at Handschuhsheim, near Heidel-
berg, in 1797. He studied for a short time under
Xeller. and first brought himself into notice by
his ' Heidelburg at Sunset ' (a water-colour), and
his ' Castle Elz.' In 1822 he settled at Munich,
and devoted himself to the delineation of Bavarian
scenery. Later he spent much of his time in
Italy and Greece, and the scenes of classic an-
tiquity furnished him with many subjects. He
was appointed painter to the Bavarian court, and
was commissioned by Louis L to paint a series of
Greek landscapes, twenty-three in number, which
now hang in a room by themselves, known as the
' Bottmann Saal,' in the New Pinacothek. Several
of these were executed by an encaustic process.
He also painted the arcades of the ' Hofgarten ' at
Munich with a set of twenty-eight Italian land-
scapes in fresco. He died at Munich in 1850.
The following are some of his works :
Berlin. Xat. Gallery. The Amner Lake.
Frankfort. StSdel Mus. Eeggio and Etna. 1829.
Karlsruhe. Gallery. Landscape in Greece.
,. ., The Island of Egina.
Leipsic. Jluseum. View of Corfu.
„ ,. The Copais Lake; two pictures.
Munich. XewPinakothek: Three Views in the Bavarian
Highlands.
„ „ The Acropolis at Corinth.
„ „ The Island of Ischia.
„ ., Monreale, near Palermo.
„ „ Corfu.
„ „ Etna from Taormina.
„ „ The Grave of Archimedes at
Syracuse.
BOTTMANN, Leoklp, landscape painter, bom
at Heidelberg in 1813, was a brother of Karl Bott-
mann, and a painter of some popularity. He was
patronized by King Max of Bavaria, ilany of his
works are more topographical than pictorial. He
died in 1881.
EOTTMATR von EOSENBRUN, JoHAsra Fraxz
Michael, (Bothmbtee,) a painter, bom at Laufen,
near Salzburg, in 1652, studied under Karl Loth in
Venice, but afterwards returned to Salzburg, where
he painted several pictures for the churches in that
city. He then went to Vienna, and became court-
painter to the Emperors Joseph I. and Charles VL,
and was made a baron. The ceiling of the large
hall in Pomraersfeld is his most important work.
He died at Vienna in 1730.
BOUBAUD, Benjamin, painter, was bom at
EoquevairiB, Bouches-du-Rhone, in 1811. He was
a pupil of Hersent, and was chiefly occupied in
making drawings for ' L'lllustration.' He died at
Algiers in 1847.
BOUCHIER, Mabib Maeguebitb Franqoisb,
(nee Jasee,) a French miniature painter, was
bom at Nancy in 1782. She was the pupil success-
ively of Isabey, Aubry, and Eegnault. She ex-
hibited at the Salon regularly down to 1844,
winning a medal in 1835. She died in 1873.
ROUCHON, , miniaturist, a Benedictine
monk of the 16th century, who illuminated a
beautiful breviary for the church of S. Jacques de
la Boucherie, in Paris, a work on which he is said
to have spent some twenty-two years.
BODGEMONT, Emilie, (nee Gohin,) a portrait
417
Rougeron
A BIOGRAPHICAL DICTIONARY OF
Koussean
painter, born in Prance in 1821, was a pupil of
Ldori Cogniet. She died in 1859.
RODGERON, Jean, a French painter, born at
Gevray-Chambertin, Cote d'Or, in 1841. He
worlfed principally in Spain, and was the friend
of Henri Regnault, whose picture of ' Les Lances,'
left unfinished at Regnault's deatli during the siege
of Paris, he completed. He died in 1880. Works:
The Spanish Letter-*riter.
Dauce of Gypsies.
Wedding in a Spanish Village.
Brawl in a Posada.
Child's Funeral in Andalusia.
Taking the Habit at the Carmelites.
Departure of the Torrero for the Bull-fight.
RODGET, Georqes, painter, born in Paris in
1784, was a pupil of David, and painted portraits
and historical subjects. He died in Paris in 1869.
Of his portraits we have :
Louis David.
Louis XVIII.
Charles X.
Napoleon.
Soult.
Eugene Beauharnais.
Victor Kellerman.
Marraont.
St. Cyr.
Clause].
HISTORICAL SUBJECTS PAINTED FOE VEESAILLES.
St. Louis receiving the Envoy of the Old Man of the
Mountain, at Ptolemais, 1251.
The Death of St. Louis.
Francis I. at Rochelle.
Henry IV. before Paris.
Henry IV. and his Children.
Henry IV. abjuring the Roman Catholic Faith.
The Marriage of Napoleon with Marie Louise.
The Death of Napoleon I.
Besides these pictures there were also several on
religious and mythological subjects :
CEdipus and Antigone.
Ecce Homo.
Christ on the Mount of Olives.
At Fontainebleau there are several tapestries
executed at the Gobelins after designs by Rouget.
ROUILLARD, Franqoise Julie Aldovrandinb,
(nee Lenuir,) born in Paris in 1801, a pupil of
Saint, of Delacluze, and of her husband, Jean
Sebastien Rouillard. She won honours at the
Salon, where her works were exhibited between
1819 and 1833. She died of cholera in 1832.
ROUILLARD, Jean SIsbastien, painter, born in
Paris in 1789. He was a pUpil of David, and
painted historical subjects and many portraits. His
works appeared at the Salon between 1817 and
1850 ; he was often premiated. He died in Paris
in 1852. Works :
Aix.
Mush.
Portrait
of Charles X. in his
coronation robes.
Amiens.
MusSe.
Portrait of Marshal Grouchy.
Versailles.
Musee.
Portrait of Marshal Schomberg.
)>
j>
»>
The Marquis de
Belief onds.
^^
jj
JJ
General Vandamme.
»
»
Camille Desmoulins.
General Marbot.
ROULLET, Jean Louis, an engraver, born at
Aries, in Provence, in 1645, was first instructed in
the art of engraving by Jean Lenfant, but he after-
wards became a pupil of Frangois de Poilly, and
was the ablest of his scholars. On leaving that
master he went to Italy, where he passed ten years,
and acquired a purity and correctness of drawing
which enabled him to engrave with success after
the great masters of the Italian school. His plate
of the ' Marys with the dead Christ,' after the
418
picture by Annibale Carracoi, formerly in the
Orleans Collection, now in the possession of the
Earl of Carlisle, is admirable. He became an
agree of the Academie Royale in 1698, and died
in Paris in 1699. The following are his piincipal
works :
portraits.
Louis XIV. ; a half-Ieugth.
Fran9ois de Poilly, Engraver to the King, advivum. 1680.
Jean Baptiste LuUy, Musician to the King ; after Miy-
nard.
Ascanius Philamarinus, Cardinal Archbishop of Naples.
subjects after various masters.
The three Marys, with the dead Christ; after An.
Carracci.
The Virgin and Infant Jesus ; after the same.
Two pendentives of the dome of the Jesuit's church at
Naples, representing St. Matthew and St. Luke; after
Lanfranco. The two other pendentives, with St.
Mark and St. John, are engraved by F. de Zouvemovt.
The Visitation of the Virgin to St. Elisabeth ; after
Mignard.
The Virgin, with the Infant Jesus in her arms, who is
holding a Bunch of Grapes ; after the same, and in-
scribed to Madame de Maintenon.
See Mdriette, vol. v. pp. 41 — 51.
ROULLIIjRE, La. See La Roullibre.
ROUQUET, Jean ANDBit, enamel painter, born at
Geneva about 1702. He came to London, where he
practised for many years in the n)anner of Zincke,
and was well known in literary and artistic
circles in the reign of George II. He afterwards
settled in Paris, where he became a member of the
Academy of Painting, in 1753, by the special order
of the king, and in spite of his Protestant prin-
ciples. He interested himself much in researches
concerning the processes of his art, and was the
author of some works on painting. In 1746 he
published in Paris a ' Lettre de M. . . . a un de ses
amis pour lui expliquer les estampes d'Hogarth,'
and in 1755 a very laudatory work on British Art,
called, ' L'Btat des Arts en Angleterre,' a trans-
lation of which appeared subsequently in London,
and in the same year a satire suggested by Diderot's
' Peinture en Cire,' entitled ' L'Art nouveau de la
peinture en fromage, ou ramequin, invents pour
suivre le louable projet de trouver graduellement
des fa9ons de peindre inf^rieures a celles qui
existent.' Rouquet had rooms assigned to him in
the Louvre, but, becoming insane, was removed
to Charenton, where he died in 1769.
ROUSSEAU, Antoine, a French painter of the
17th century, and friend of Philippe de Champagne,
was in 1645 painter in ordinary at the French
Court.
ROUSSEAU, EdmS, a French miniature painter
of little note, the pupil of Augustin, born in 1816.
He died in Paris in 1858, and a notice of his life
appeared in 'Le Monde Dramatique' for the 28th
January, in that year.
ROUSSEAU, Jacques, landscape painter, was
born in Paris in 1630. After being instructed in
the elements of design in his native city he went
to Rome, where he applied himself to the study of
perspective and landscape, and drew the most re-
markable scenes in the vicinity. He formed a
friendship with Herman Swaneveldt, whose sister he
married, and, assisted by his advice and instruction,
became an able painter of landscapes and architec-
tural views. On his return to Paris he met with
a favourable reception. He was eipployed by
Bousseau
PAINTERS AND ENGRAVERS.
Rousselet
Louis XIV. at Marly and St. Germain-en-Laye,
and was made a member of the Academy. He
was at the height of his reputation at tlie Revocation
of the Edict of Nantes, when, as a Protestant, he
fled to Switzerland, whence Louis XIV. invited him
to return. He however preferred to go to Holland,
whence he was invited to England by the Duke of
Montague, and was employed, in conjunction with
Charles de la Fosse and John Baptist Monnoyer, in
decorating Montague House. He was afterwards
employed to paint several landscapes and per-
spective views for the palace of Hampton Court.
The landscapes of Rousseau generally represent
classic scenery, eiubellished with magnificent archi-
tecture. In this he appears to have taken Nicholas
Poussin for his model. He etched nineteen plates,
of much merit, which are now very rare. He died
in London in 1693.
ROUSSEAU, Jean Franqois, a French engraver,
who resided in Paris about the year 1760. He has
engraved a great number of vignettes and other
ornaments for books, after the designs of Gravelot
and others. We have also the following separate
plates by him :
The Virgin and Infant Christ ; after Vander Werf.
St. Jerome ; after F. F. Mola.
ROUSSEAU, Philippe, was bom in Paris on
the 22nd February, 1816. He was a pupil of Gros
and of Bertin, and made his d6but at the Salon of
1834, with a ' View in Normandy,' but about ten
years later turned his attention to those still-life
subjects in which he made his reputation. He
won the orthodox honours at the Salon, culminating
in the ofBcership of the Legion of Honour in 1870.
He died in 1887. Works :
St. Martin, Gisors. 1838.
Interior of a Farm. 1850.
The Intruder. 1850. {Musie du Luxembourg.)
Storks taking a Siesta. 1855. (The same.)
Kid eating Flowers. 1855. (The same.)
The Gala Day. 1859.
The Monkey Photographer. {Princess Mathilde.)
Flowers. {^The same.)
The Wolf and the Lamb. 1875.
O ma tendre Musette ! 1877.
La FSte Dieu. 1877.
The Two Friends. 1882.
ROUSSEAU, Pierre feiENNE TnfoDORE, a land-
scape painter, born in Paris in 1812, was the son of
a tailor, and, in boyhood, was placed in some
humble capacity with a relative who had a steam
saw-mill in Franche Comt^. He studied under Pau
de St. Martin, R^mond, and Guillon-Lethiere. In
1834, 1835, and 1838 he exhibited at the Salon,
betraying in his work a disregard for convention
which was then quite new. After that time his
works were rejected by the Paris Salon on the
ground that they were not classical ; and it was
not till 1848, when the Jury of Members of the
Institute fell, that his struggles against adverse
fortune came to an end. Meanwhile Rousseau
had taken refuge in the forest of Fontainebleau,
in that village of Barbison which he has done
almost as much as Millet to immortalize. There
he lived until, with opening fortunes, he added to
his retreat a home in Paris. In 1849 his pictures
were again admitted to the Salon, and won a medal
of the first class. In 1852 he received the cross
of the Legion of Honour, at the 1855 exhibition
a first-class medal, and in 1867 a ra^daille d'hon-
neur and the higher grade of the Legion of Honour.
Rousseau did not show the courage and magna-
nimity of Millet, and his failure to win acceptance is
E E 2
said to have shortened his life. The credit of an
early appreciation of Rousseau's genius belongs
to the Americans. He died at Barbison on the
22nd December, 1867. Of his works we may
cite :
A Glade in a wood, CompiegDe. 1834.
The Forest of Fontainebleau, at sunset. 1849.
Hoar Frost.
Group of Oaks.
A Group of Oaks in a hollow.
Huts under the Trees.
A Swamp in the Landes, the Basses-Pyrenees in the
distance. 1853.
Entrance to Bas-Breau, Fontainebleau. 1851.
Spring at Barbison. 1851.
Exit from the Forest of Fontainebleau ; sunset. [Louvre.)
Spring on the Loire. 1857.
' Carrefour de I'Epine,' Bas-Br6au, Fontainebleau. 1858.
' Gorges d'Apremont,' Fontainebleau. 1860.
' The Stone Oak,' Fontainebleau. 1861.
The End of October, Sologne. 1867.
Sunlight through Storm. 1867.
Evening after Eain, Berry. 1867.
Farm on the Oise. 1867.
Water-colour Landscape. {Havre Museum^
Water Meadows. {Nantes Museum.)
Oows at the Drinking Place. {The same.)
Cows in a Meadow, Fontainebleau. {Montpellier Mus.)
ROUSSEAU, Thbiodorb Augdste, a Fi-encli
painter, was born at Saumur about 1825. He was
a pupil of Leon Cogniet, and went to California,
where he died. Examples of his work are to be
fouud at Versailles and in the mus4e of Saumur.
ROUSSEAUX, Bmile Alfred, a French en-
graver, born at Abbeville in 1831. His studies
were directed by Henriquel-Dupont, and he was
awarded medals at the Salons of 1863 and 1867.
He died in Paris in 1874. Amongst his best plates
are :
Fame and Truth ; after Corregi^io.
Portrait of a Man (Louvre) ; after Franqia.
The Christian Martyr ; after Delaroche.
Christ and St. John ; after Ary Scheffer.
The Virgin and the Infant Jesus ; after Hehert.
The Marquis de S6vign6 ; after Aanteuil.
He also sent to the Salon portraits in chalk of
M. Viotorien Sardou and M. Lerminier.
ROUSSELET, Gilles, was born in Paris in
1610. It is not known under whom he learned the
art of engraving, but his style resembles that of
Bloemaert. He was received into the Academy
in 1663. His drawing is correct, and his plates
possess considerable merit, though in some the
lights are too much covered. He was closely
allied with Le Brun. He died blind in Paris in
1686. The number of his plates is considerable ;
the following are the most esteemed :
Charles de Valois, Dnke of AngoulSme.
Pierre Siguier, Chancellor of France ; after Le Brun.
Eichard de Belleval, Chancellor of the University ; after
the same.
The Frontispiece to the Polyglot Bible ; after S. Bourdon.
The Holy Family ; with St. Elisabeth and St. John pre-
senting the Infant Jesus with a Bird ; aftei' Eaffaelle.
La Belle Jardiniere ; after the same.
The Holy Family, with St. Elisabeth, St. John, and two
Angels ; after the same.
St. Michael overcoming Satan ; after the same.
The Annunciation ; after Ouido.
Four plates representing three of the Labours of Her-
cules and his Death ; after the same.
David playing on the Harp ; after Domenichino.
The Entombment of Christ ; after Titian.
The Four Evangelists ; aftei- Valentin {four plates).
Eliezer meeting Rebecca ; after JV. Poussin.
Moses saved from the Nile ; after the same.
The Holy Family ; after S. Bourdon.
419
BiOusselet
A BIOGRAPHICAL DICTIONARY OF
Kowlandson
St, John the Evangelist ; after the same.
The Cruciflxiou ; after Le Jirun.
A Pietti ; after the same.
The Dead Christ supported by an Angel ; after tJie same.
The Holy Family ; after the same.
The Penitent Magdalene ; after the same.
St. Bernard kneehng before the Virgin ; after the same.
St. Theresa in contemplation ; after the same.
ROUSSELET, Marie Anne, was the wife of
Pierre Tardieu, the engraver, and was probably a
relative of Gilles Rousselet. She engraved several
plates for Buffon's 'Natural liistory,' and 'St.
John in the Desert,' after Vanloo. She also en-
graved some sea-pieces after Baokhuysen, W.
Van de Velde, and J. Vernet. She flourished
about 1765.
EOUSSlilRE, FEANgois db la. See De la
EOUSSlfiRE.
EOUVl]feRE, Philibeet, painter and actor, was
born at Nimes in 1805. He was a pupil of Gros,
entering the Bcole des Beaux Arts in 1828. He
exhibited occasionally at the Salon between 1831
and 1864. He died in Paris in 1865. As an actor
he played 'Lear,' 'Macbeth,' and the 'Duke of
Alva,' at the Odeon, and 'created' the role of
'Maitre Favilla.'
ROUX, Jakob Wilhelm Chrtstian, a painter
and engraver, born at Jena in 1771, studied first in
his own city and then at Dresden. His ' Falls of
the Rhine at SchafEhausen ' is a careful production,
and his Illustrations to Tiedeniann's work on the
Arteries are good. His attempts to make use of
wax as a vehicle were finally successful, and in
this manner he painted a ' Head of Venus,' after
Titian, and a portrait of the Councillor Paulus. He
etched the ' Student Riot at Jena of 1792,' and a
' Painter's Journey down the Rhine from the Vosges
to the Siebengebirge.' He died at Heidelberg in
1831. His son Kael, born 1826, at Heidelberg, is
a well-known historical and animal painter.
ROUX, MaItee. See Dei Rossi, Giovambattista.
RODX, PoMPEYO, was an engraver of religious
prints at Barcelona in the 17th century.
EOVERB, GiAMBATTiSTA and Marco, the two
brothers of Giovanni Madeo Roveee. They
assisted him in his works, and executed a large
number of paintings, both in fresco and oil, for
the city of Milan. The three brotliers were also
called Rossetti, and more generally still Fiammin-
ghini, from their father.
ROVERE, Giovanni Bat'jista, an artist of the
17th century at Turin, the only record of whom
was a curious painting which he left in the convent
of St. Francis at Turin. The subject was ' Death,'
and the Figures of Adam and Eve were introduced
in company with those of the three Fates. It was
inscribed: "Jo. Bapt. a Ruere Taur, f. 1627." An
artist of the same surname was employed at Turin
in connection with the court collection of pictures
from 1626 and onwards, but his Christian name
was GiROLAMO.
ROVERE, Giovanni Maueo, called Fiammin-
GHINO, (FiAMiNGO,) painter and engraver, was born
at Milan in 1570, of parents of Flemish origin.
He was brought up imder the Procaocini, whose
style he followed, particularly that of Giulio Cesare.
He painted history with some success. His altar-
piece, the ' Last Supper,' in the church of S. Angelo
at Milan, is a good picture, and so are his battle-
pieces and landscapes with animals. Some en-
gravings by him of such subjects, after his own
designs, are marked J. M. R. F. Giovanni Bati'ISTA
420
RovEEB, brother of Giovanni Mauro Rovere, painted
architectural perspectives, and showed consider-
able talent. He died in 1640. Several others of
the same family practised painting.
ROVERIO, Baetolommeo, a Milanese painter
of the 17th century, seems to have been identical
with Maroo Genovesini, who has been sometimes
confused with Calcia, called II Genovesino, a
painter of the same epoch {q. v.). He practised
in the manner of the " Machinisti." Oretti men-
tions a picture by him in the church of the
Certosa, Carignano, signed Bartol. Roverio. D.
Genovesino, and dated 1626, and a 'Crucifixion'
in the refectory, dated 1614, and he painted
numerous works in Milan, notably for the Augus-
tines, among them a genealogical tree of the
order.
ROVIGO. See Uebino.
ROVIRA Y BROCANDEL, Hib(5lito, a Spanish
painter and engraver, was bom at Valencia in 1693.
It is not known under what master he first studied,
but it is certain that he assisted in the studio of
Evaristo Mufioz, where, solely by application,
he became an excellent engraver. In his 30th
year he started for Rome. On his arrival there he
devoted himself to study with such ardour that he
passed days and nights without other sustenance
than bread and water. He never undressed ; and
his enthusiasm was so great that his boast was
that he had copied every picture which had given
him pleasure. But his privations had their effect
on his faculties, and on his return from Rome
his work was not equal to what he had done
before his departure thither. He had there, how-
ever, painted the portrait of the General of the
Dominicans ; and on Eovira's return to Madrid
the reverend father was at the court. The queen,
Isabel Farnese, was desirous of having a portrait
of Luis I., and the General spoke so highly of the
talent of Eovira, that he was sent for to execute
the work. After beginning well, mental disturb-
ance led him to spoil his picture, and he fled to
Valencia in complete destitution. Here the Mar-
quis de Dos Aguas took him into his house, and
got him a commission to paint in fresco the vault
of the sanctuary of S. Luis, which he finished
without exhibiting the least aberration of mind.
It was at last, however, found necessary to place
him in an asylum, the Casa de Misericordia,
where he died in 1765. In the first volume of the
'Museo Pict6rico' of Palomino, there are several
prints by him, which show his talent as an engraver.
ROWBOTHAM, Thomas Leeson, an English
landscape painter in water-colours, born at Dublin
in 1823. His father was an artist, and by him he
was taught. From shortly after his birth until he
was twelve he lived at Bristol. He made several
sketching tours, beginning in 1847, through Wales,
Scotland, Normandy, and Italy. From the latter
country many of his subjects were taken. Suc-
ceeding his father, he taught drawing at the naval
school at New Cross. He joined the Water-Colour
Institute in 1858. In his later years he restricted
himself practically to Italian subjects, and as a
rule to those with sea or a lake in them. His style
was sunny, but florid, decorative, and non-natural.
He died at Kensington in 1875, leaving his family
ill-provided for. Two of his drawings are in the
Kensington Museum.
EOWLANDSON, Thomas, a celebrated designer
and etcher of caricatures and humorous subjects,
was born in London in • 1756. At a, very early
Bowlett
PAINTERS AND ENGRAVERS.
B^ubena
period he gave presage of his innate talent for
caricature, hy making caricatures of his school-
master and fellow-scholars on the margins of
his books. In his sixteenth year he was sent to
Paris, and entered as a student in one of the
drawing-schools there, where he made rapid
advances in the study of the human figure. On
his return to London he resumed his studies at
the Royal Academy, where he had been admitted a
student before his visit to Paris. His father, who
was a city tradesman, became embarrassed from
injudicious speculation, and young Rowlandson
would have been without support but for the
liberality of an aunt, a French lady who had
married his Uncle Thomas. This lady, whose
maiden name was Chattelier, amply supplied him
with money ; and to this indulgence, perhaps, may
be traced those careless habits which attended his
early career, and for which he was remarkable
through life. At her decease she left him seven
thousand pounds, besides other valuable property.
He then gave way to his bent towards dissipation.
In Paris he had imbibed a love for gaming; and
he now frequented the most fashionable play-
houses in London, where he alternately won and
lost without emotion, until he had dissipated more
than one valuable legacy. It is said that he once
sat uninterruptedly at the card-table for thirty-six
hours. He has been known, after having lost all
he had, to sit down coolly to his work, and
exclaim, "I've played the fool, but (holding up
his pencils) here is my resource." Coarse, hasty,
and slight as were the generality of his humorous
designs, his early works were wrought with care ;
and his ' Academies ' of the huinan figure were
scarcely inferior to those for which Mortimer was
famous. His style, which was purely his own,
was quite original. He drew a bold outline with
the reed pen, in a tint composed of vermilion and
Indian ink, washed in the general effect in chiaro-
scuro, and then shghtly tinted the whole with the
proper local colours. Like many other caricaturists
he had a keen sense of beauty, especially of the
beauty of woman. For many years he was too
idle to invent subjects or to seek new employment,
and his kind friend and best adviser, Aokermann,
the well-known publisher in the Strand, supplied
him with ideas for the exercise of his talent. At
that gentleman's suggestion he made the illus-
trations for ' The Travels of Dr. Syntax,' ' The
Dance of Death,' 'The Dance of Life,' by W.
Coombe. The first-named of these was ' written to '
Rowlandson's drawings by Coombe. In spite of
his reckless mode of life, Rowlandson had the
character of a man of scrupulous honour. He
died in London in 1827.
ROWLETT, Thomas, an etcher and draughts-
man, practising in London about the middle of the
18th century. He has left an etching after a
portrait of William Dobson, the painter.
r6xAS y VELASCO, SALVADOB,a gentleman of
Seville, who practised painting as an amateur, and
actively contributed to the foundation and support
of the Academy in the years 1670-73.
ROY, Jean Baptiste de, commonly called Db
Roy of Brussels, a landscape and. oa'^^'e painter,
was born at Brussels in 1759. Froi. . his early
childhood he showed a great disposition for draw-
ing, and his father took him to Holland that he
might have the opportunity of studying the cele-
brated Dutchmen. These and nature were his
. only teachers ; but by assiduous attention to both
he soon attained to considerable emincaice as a
painter. The pictures of Paul Potter, Cuyp, and
Berchem, decided his choice of subject ; but the
style he adopted differs from theirs, and is more
like that of Omraeganck. His subjects are gener-
ally horned cattle standing in groups, or grazing
in meadows. In the Brussels Museum there is a
good picture hy him. He died in 1839.
ROY, Joseph, a French painter of the 17th cen-
tury, employed at a fixed salary by the town of
Bordeaux in 1611. He painted the portraits of
many of the municipal authorities.
ROY, Le. See Le Roy, Piekee FnANgois.
ROY, Simon, a French painter of the 16th cen-
tury, the friend of Clouef. He was one of the
artists employed in 1548 in the decoralion of
Fontiiinebleau.
ROYEN, WlLLEM F. VAN, a Dutch painter of
still-life, born at Haarlem in 1664. In 1689 he
settled at Berlin, and became painter to the court,
working at Berlin and at Potsdam for many years.
Nagler states that he received a considerable
pension from the Prussian court. He died in 1723.
ROYER. See Le Royer.
ROYER, PlEREE, a painter and architect, work-
ing towards the end of the 18th century. lie was
of French birth, but seems to have worked chiefly
in London. He exhibited at the Royal Academy
between 1774 and 1778, and at the Salon down to
1796. Most of his subjects were taken from
London and its neighbourhood. Among them
were a 'View of Garrick's Villa,- at Hampton,'
' Hyde Park Corner,' ' Chelsea and Battersea
Bridge.'
ROYMERSWALEN. See Maeinds.
ROYNARD, Vincent, a French artist of the 17th
century. In 1642 he received commissions for
various portraits and pictures from Anne of
Austria,
RUBEN, Christian, a painter, born at Treves
in 1805. His first master was Cornelius, at Diissel-
dorf, but he afterwards studied at Munich. In
the summer of 1835 he produced an ' Ave Maria '
and ' Scenes from Monastic Life,' also a series of
cartoons for the cathedral of Ratisbon. In 1848
he was appointed Director of the Art Academy
in Prague, in which year he also produced some
cartoons for the Belvedere in Vienna, of which
he was made Director. His last works were ten
cartoons from Bohemian history. He died in an
asylum near Vienna in 1875.
RUBENS, A., an obscure artist, who practised
at Brussels, and died in distressed circumstances
about 1824.
RUBENS, Pbteb Paul, was horn on the 29th of
June, 1577, at Siegen in Westphalia. His father,
Jan Rubens, was an alderman at Antwerp, who,
in the time of the religious troubles, had been
denounced as a Calvinist, and escaped to Cologne,
where he entered the service of Prince William of
Orange. Here, after two years, he became involved
in an intrigue with the Princess Anne, and suffered
five years rigorous captivity in the castle of Dillen-
burg, before he was conditionally set free, to live
under surveillance in a modest house in the village
of Siegen in Westphalia, where the great painter
was born, and passed the first year of his life. In
1578 the family were permitted to remove to
Cologne, where they lived in a small house in the
Sternen-Gasse for ten years, until the death of Jan
Rubens, when his widow returned with her family
to Antwerp. The mother of Rubens, Maria Pype-
421
Bubens
> BIOGRAPHICAL DICTIONARY OP
Bubens
linx, was a woman of energy and refinement. Her
husband's release had been due to her incessant
solicitation, and she now successfully exerted her-
self to recover, in the ruined city of Antwerp, a
portion of the family estates, in order to educate
her children. The rigour of the Spanish domin-
ation permitted at that time no other instruction
of youth than that of the Jesuits, and Peter
Paul accordingly passed the next few years of
his life at the Jesuits' College, where, young as
he was, he acquired a mastery of languages, and
probably an attachment to the religious faith of his
preceptors, which coloured his career. From the
Jesuits' College he was transferred for a short
time, in conformity with the custom of the period,
to the household of a noble lady, the Countess
Lalaing, as a page ; and thus the seed was sown
of that courtliness and grace of manner which
was so invaluable to him in after life, and by
which he was distinguished above his compeers.
He was, however, only thirteen years of age when
he entered upon the serious study of art, with
Tobias Verhaeght, a landscape painter of some
reputation ; from whom the boy acquired an appre-
ciation of the beauty of nature which he never
forgot, and which returned to him forcibly in the
last days of his life, when the gout forced him to
be content with painting landscapes at his chateau
at Steen.
Verhaeght, however, was not a figure painter,
and the ambition of Rubens was already directed
to historical subjects. He remained, therefore,
only a short time with his first instructor, and then
removed to the studio of Adam van Noort, where
he studied four years in the companionship of Jor-
daens, Great importance is attached to the influence
of Van Noort upon Rubens and Jordaens, and,
through them and his other pupils (of whom thirty-
two are mentioned in the archives of the Painters'
Guild), upon the whole Flemish art of the period.
At the age of nineteen Rubens was transferred to
the studio of Othon van Veen (often called Otto
Vajnius), a man of noble family and great con-
nections, who had been appointed court-painter to
Alexander Farnese, and to the Archduke Albert
and the Infanta Isabella ; who had studied also
under Zuochero in Rome, and who imbued his
pupil with a desire to visit Italy, while he was able
to forward his wish through the favour of the
Archduke Albert.
Rubens set out fur Italy on the 9th of May, 1600.
Nothing is on record of the incidents of his journey
or of his arrival, beyond the circumstance that at
Venice he became known to the magnificent Vin-
cenzo Gonzaga, the reigning Duke of Mantua,
who at once became liis patron and protector. He
employed Rubens first at Rome, and in the follow-
ing year at Mantua, in making copies and original
works of art ; and it is suggested by Dr. Waagen
that falling in the course of this task under the
influence of the works of Mantegna, the severity
of this master's style moderated, for the time,
the native taste of Rubens for full forms. In
the year 1603 he was sent by the Duke upon
an artistic commission into Spain, in charge of
presents for the King and otiiers, which included a
collection of pictures for the Duke of Lerma.
These last became seriously injured on the journey,
and were successfully restored by Rubens. On his
return to Mantua he began to receive a fixed salary
from the Duke, but returned to his studies at Rome
in 1605, and continued there throughout the fol-
422
lowing year, only returning to Mantua for a short
time, at the express command of the Duke, in the
summer of 1607. He remained at Rome until 1608,
when the news of his mother's last illness drew
him homewards, to be met, on his journey, by
the announcement of her death.
He now settled at Antwerp, where his brother,
Philip, was town secretary, and on 13th October,
1609, married Elizabeth (Lijsbette) Brandt, the
niece of his brother's wife. He was nominated
court-painter to the Archduke, and in the same
year admitted into the Romanist Guild of St. Peter
and St. Paul. In 1610 he bought a plot of land,
and built himself a house in the Italian style,
which he decorated with his own hand. His
house is said to have cost him 60,000 florins, and
contained a princely collection of art treasures.
In 1611 his brother Philip's death left Rubens
the representative of his family. Phihp left two
children. Peter Paul had himself no children,
until the birth of his eldest son in 1614 ; about
four years later his second was bom. The Arch-
duke Albert was godfather to the first-bom. It
was during this period that some of Rubens' finest
pictures were painted. He valued his work at 100
guilders, or about £10, a day, and the amount that he
produced was enormous. His process was to sketch
out his subjects on a small scale, and have them
transferred to canvas by his pupils under his own
close supervision. He would then complete them
himself with the vigorous finishing-touches which
distinguish his work. Amongst his pupils were :
Justus von Egmont, Peter van Mol, Comelis Schut,
Jan van den Hoecke, Simon de Vos, Deodato van
der Mont or Delmont, Nicolas van der Horst,
Jan Wildens, Jakob Moermans, Willem van
Panneels, Peter Soutmanns, Erasmus Quellin,
David Teniers the younger, Theodore van Thul-
den, Abraham van Diepenbeeck, Frans Wouters,
Gerard van Herp, Joan Thomas, Matthew van
den Berg, Samuel HofEman, Jan van der Stock,
Pennemakers, and Jan Victor Wolf voet ; but those
who did him the best service were: Anthony
van Dyck, Jacob Jordaens, and Frans Snyders.
About the year 1620 Rubens was called to Paris at
the request of the Queen, Marie de' Medicis, for the
decoration of the great gallery in the Palace of
the Luxembourg. In the course of his visit he
became known to the Duke of Buckingham, whose
portrait he painted, and to whom he sold his own
tine collection of statues, pictures, and other works
of art, for a sum of 100,000 florins. On the 29th
of September, 1626, Rubens lost his wife, Elizabeth
Brandt. They had been married sixteen years.
In a letter to Pierre Dupuy, Rubens mentions
his wish for a journey to divert him from the
" sight of many things which renewed his grief."
With this object in view he became very active
in the negotiations for peace, and, at the invitation
of the King of Spain, made a journey to Madrid
in 1628. It was on this occasion that he was dis-
covered by a courtier busily painting. " Ho 1 '" cried
the latter, " does his most Catholic Majesty's repre-
sentative amuse himself with painting?" "No,"
answered Rubens, "the artist sometimes amuses
himself with diplomacy." He was indeed always
industriously pursuing his art. He painted a great
many portraits in Madrid of the King and the
Royal Family, besides a number of other pictures,
and copies of the Tilians in the royal galleries.
In the following spring, however, the minister
Olivares determined to despatch Rubens as an
Kubens
PAINTERS AND ENGRAVERS.
envoy to London ; and having been nominated
Secretary to the Privy Council of the Netherlands,
he left Madrid on the 29th of April, 1629, with
full instructions for London. Arriving in London
on the 15th of June, he was received with great
honour and cordiality, had frequent interviews with
the King, and finally brought to a successful issue
the intricate and double-dealing commissions he
was charged with. Ambassadors were exchanged
between Spain and England, and Rubens, who had
previously received knighthood at Whitehall, left
London on the 6th of March, 1630, and returned to
the Netherlands. Among the works that he painted
during his sojourn in England was the 'Peace and
War,' now in the National Gallery,
On the 6th December, 1630, Rubens being then
fifly-three years of age, married his second wife,
Helena Founiient, or Forman, the daughter of his
former wife's sister. She was a girl of sixteen,
and her portrait is familiar to the world in a great
number of her husband's pictures. In 1633 he
was employed on a diplomatic mission to Holland,
and again shortly after, when he succeeded in
making an arrangement with the States-General.
He had scarcely returned from this mission when
he heard of tlie death of his oldest patroness, the
Infanta Clara Eugenia Isabella, in the last month
of 1633. Rubens now withdrew from politics.
He purchased Chiteau de Steen, between Vilvorde
and Mechlin, spent much of his time there, and
painted many landscapes. He began to suffer
much from gout, but, in 1635, he was employed
in the arrangements for the triumphal entry of
the new Spanish Governor of the Catholic Pro-
vinces. His designs for this pageant were after-
wards engraved and published by Gervaerts. His
last work was the altar-piece for the church of St.
Peter's at Cologne, on which he expended an
amount of care and time unusual with him. Rubens
etched a few plates ; he mr.de designs for several
sets of tapestries, of which ' The Life of Achilles,'
in eight pieces, the ' History of Constantine,' in
twelve (Garde-Meuble, Paris), and two 'Triumphs
of the Church,' one in seven, the other in fifteen,
pieces (Carmelites, Madrid), are the most import-
ant ; and he made not a few designs for silver-
smiths, and for printers like Moretus. For the
latter he drew many titles and culs-de lampe, as
well as eight designs for a history of cameos, to
be written by Peireso, which never appeared.
He died on the 30th May, 1640, and was in the
first place interred in the vault of the Fourment
family. His body was two years afterwards
removed to a special chapel built out from the
church of St. Jacques, at Antwerp, for its re-
ception. A catalogue was made of the works of
art in his possession, which sold for the then
enormous sum of £25,000. His eldest son suc-
ceeded to his ofiSce of Secretary to the Privy
Council. He was a distinguished scholar and
antiquarian, and died at an early age. As the
pictures of Rubens number (according to the ' Com-
mission anversaise charg^e de r^unir I'oeuvre de
Rubens en gravures ou en photographies ') no
fewer than 2,253, exclusive of 484 drawings, it is
impossible to give a corhplete catalogue of them
here ; the following list contains the more remark-
able of those which are easily accessible.
Antwerp. Cathedral. Raising of the Cross. {Fine
sketch for it in Mr. Solford's
Collection^ Dorchester House.)
„ ,, Descent from the Cross.
Antwerp.
Berlin.
Blenheim.
Brussels.
Cathedral.
S, Jacques.
Museum.
Museum.
Palace.
Kubens
Assumption of the Virgin.
Adoration of St. Bonaventura.
The Crucifixion.
Adoration of tlie Magi.
Communion of St. Francis of
-Cologne. Ch. of St. Peter.
Darmstadt. Museum.
Dresden. Gallery.
Duhlin. Nat. Gallery.
Florence.
Uffizi.
Piiti Palace.
Frankfort. Stadel Inst,
Glasgow. . Gallery.
Ijondon. Nat. Gallery.
Th? Education of the Virgin.
Triptych of Nicolas Eockox.
The Virgin with the Parrot.
Coronation of the Virgin.
Diana at the Chase.
Neptune and Amphitrite.^"
Portrait of Helena Fourment.
The Resurrection of Lazarus.
Perseus and Andromeda.
The Garden of the Hesperides.
Venus and Adonis.
Christ carrying his Cross.
The Virgin beseeching Mercy
for the World from Christ.
The Crucifixion. (Le Coup de
Lance.) y
Assumption of the Virgin.
A Pieti
Coronation of the Virgin.
Adoration of the Magi.
Martyrdom of St. Lilvin.
Portraits of Jean Charles de
Cordes and his Wife.
Martyrdom of St. Peter.
Diana and her Nymphs.
Diana and her Nymphs.
A Lion Hunt.
' Quos Ego ; ' Neptune com-
manding the winds to be still.
Victory Crowning a Hero, who
sets his foot on the neck of
Silenus.
Bathsheba.
The Boar Hunt.
Tigress with Young.
Sketch for the ' Judgment of
Paris ' in the National Gallery.
The Garden of Love.
St. Francis receiving the Stig-
mata.
St. Peter and the Tribute
Money.
Henry IV. at Ivry.
Entrance of Henry to Paris
after Ivry.
Portrait of Elizabeth Brandt.
Landscape ; Ulysses on the
Island of the Phseacians.
Eubens and his Brother with
the Philosophers Lipsius
and Grotius.
The Horrors of "War.
A Holy Family.
Portrait of the Duke of Buck-
ingham.
Portrait of a Child, seated in a
little chair and playing with
sweetmeats.
The Many-breasted Goddess.
Infant Christ and St. John.
The Rape of the Sabines.
Peace and War.
The Brazen Serpent.
Judgment of Paris.
The Triumph of Julius Czesar.
[A free copy from Mantetjna.)
The Horrors of War. (Sketck
for the large picture in the
Pitti Palace.)
The Triumph of Silenus.
The Conversion of St. Bavon.
Apotheosis of William the
Silent.
The ' Chapeau de Paille.'
{Foil.)
The Birth of Venus. {Grisaille.)
Holy Family, with St. George
and other Saints.
423
Subens
A BIOGRAPHICAL DICTIONARY OP
Kubens
Whitehall.
Grosvenor House.
Madrid.
Munich.
Gallery.
London. Jfat. Gallery. Landscape, with a View of the
Chateau de Steen.
„ „ Landscape, sunset. *
„ „ Landscape sketch.
„ Hulwich Gal. Three 'Women with Cornucopia.
„ „ Portrait of Helena Fourment.
J, „ St. Barbara flying from her
Father.
„ „ The Three Graces dancing.
Venus, Mars, and Cupid.
Apotheosisof Jamesl. [Ceilinct.)
Triumph of the Catholic
Oiaurch.
Ixion and the Oloud.
Abraham dismissing Hagar.
The Brazen Serpent.
The Adoration of the Magi.
Holy Family.
APieti. '
The Supper at Bmmaus.
St. George and the Dragon.
Eleven figures of the Apostles.
The Centaurs and the Lapithse.
Eape of Proserpine.
Achilles and Ulysses.
Perseus and Andromeda.
Orpheus and Burydice.
The Creation of the Milky Way.
The Judgment of Paris.
The Three Graces.
Diana and CaHsto.
Pan and Ceres.
Mercury and Argus.
Nine figures of Gods and Classic
Celebrities.
The Garden of Love.
Adam and Eve.
Eape of Europa.
Dance of Peasants.
Portrait of the Archduke
Albert.
Portrait of Philip II.
Portrait of the Infanta Isabella,
Clara Eugenia.
Portrait of Marie de' Medicis.
Portrait of Don Ferdinand of
Austria.
Portrait of Sir Thomas More.
{Copy after Holbein.)
Death of Seneca.
Virtue victorious over Licence,
j^ „ Martyrdom of St. Laurence.
„ „ ^iv^The Eape of the Daughters of
^ Leucippns.
^ „ The Fruit Garland.
„ „ The Flower Garland.
„ „ Diana Sleeping, watched by
Satyrs.
„ ^, Diana Eesting.
J, „ Defeatof Sennacherib.
„ „ Conversion of St. Paul.
„ „ Lion Hunt.
„ „ Christ Enthroned on the
Clouds, among Saints and
Angels.
„ „ The Fall of the Eebel Angels.
„ „ The large ' Fall of the
Damned.'
jj „ The small 'Fall of the Damned.'
^ „ The Woman of the Apocalypse.
„ „ The Nativity.
„ „ Descent of the Holy Ghost.
„ „ The Battle of the Amazons.
^ „ Samson taken by the Philis-
tines.
,, „ Christ and the Penitent Sin-
ners.
„ „ Christ on the Cross.
„ „ Eeconciliation of the Eomaus
and Sabines.
„ „ Silenus.
„ „ War and Peace.
„ ,, The Massacre of the Innocents.
„ „ Pastoral : portraits of Eubens
and bis second wife.
424
Gallery.
Munich. Gallery. St. Christopher.
„ „ Sixteen sketches for the His-
tory of Marie de' Medicis in
the Louvre.
„ Portrait Group of Kubeus and
his first Wife.
„ „ Portrait of Philip Bubens.
„ „ Portrait Group of Thomas
Earl of Arundel and his Wife,
with their Dwarf and Jester.
,, „ Portrait of Philip IV. of Spain.
„ „ Portrait of Elizabeth of Bour-
bon, wife of Philip IV.
„ „ Portrait of Don Ferdinand of
Austria.
„ „ Portrait of Eubens's Mother.
„ „ Portrait of a Young Girl.
„ „ Three portraits of Helena Four-
ment.
„ „ Portrait of Helena Fourment
with her little naked son.
„ „ Rubens and Helena Fourment
in a Garden.
„ „ Portrait of a Scholar.
„ „ Portrait of Dr. Van Thulden.
Paris. Zouvre. The Flight of Lot.
„ „ Elijah in the Desert.
„ „ The Adoration of the Magi.
„ „ A Tournament.
„ „ The Virgin with the Innocents.
„ „ Thomyris, and the head of
Cyrus.
„ „ History of Marie de' Medici.
{Twenty-ojie pictures, painted
oy his pupils, hit aniviateci by
his ovmjinishiny touches.)
„ „ Portrait of Helena Fourment
and two of her Children.
„ „ 'Kermesse' in a Flemish
Village.
„ „ Two Landscapes.
„ „ Five portraits of Members of
the French Royal Family.
Petersburg. Hermitage. Abraham dismissing Hagar.
„ „ Christ in the House of Simon
the Pharisee.
„ „ Ecce Homo.
„ „ Coronation of the Virgin.
„ „ Venus and Adonis.
„ „ Two ' Bacchanals ' ; one iden-
tical with the picture at
Munich known as ' Silenus.'
„ „ Perseus and Andromeda.
„ „ Rape of the Sabines.
„ „ Portrait of PhiUp IV.
„ Triumphs of the Cardinal In-
fante Ferdinand.
„ „ Four Sketches for Pictures in
Medici series.
„ „ The City of Antwerp [allegory).
„ „ The Temple of Janus.
„ „ Two Sketches for the White-
hall ceiling.
„ „ Portrait of Helena Fourment,
with an Ostrich Feather.
[From the Walpole Collection)
J, „ Fourteen other Portraits.
>, „ Two Lions and a Lioness.
Vienna. Gallery. Votive picture of the Brother-
hood of San Ildefonso.
,1 „ Holy Family under an Apple-
tree.
„ ,, St. Ignatius Loyola.
,) „ St. Francis Xavier preaching.
„ „ The Assumption of the Virgin.
„ „ The Temptation of Christ;
signed P. P. Rubens F. 1.6.1.4.
>, „ The Penitent Magdalen.
1! „ Ambrosius repulsing Theodo-
sius from the Church door.
I, „ Meeting between Ferdinand of
Hungary and Prince Charles
Ferdinand of Spain, at Nord-
lingen, in 1634.
» The Feast of Venus.
Kubenstein
Vienna.
PAINTERS AND ENGRAVERS.
Rudolph
Gallery. Cymon and Iphigenia.
„ „ Jupiter and Mercury with Phi-
lemon and Baucis.
„ „ The Hermit and the Sleeping
Angelica.
„ „ A Stormy Landscape, with
Jupiter, Mercury, Philemon
and Baucis.
,1 ,, Portrait of Maximilian I.
„ „ Charles the Bold, Duke of
Burgundy.
» „ St. Pipin, Duke of Brabant,
with his Daughter, St. Bega.
,! 1, His own Portrait ; sigried P. P.
EUBINS.
„ „ Portrait of Helena Fourment,
nude, making for her Bath.
)> „ Eleven portraits and Single
Figure studies.
„ Liechtenstein Col. The Story of the Death of
Decius Mus. {A series of
six pictures.)
„ „ The Triumph of Rome.
„ „ Assumption of the Virgm.
„ „ Erecthonius and the Daughter
of Cecrops.
„ „ The Two Sons of Eubens.
„ „ The Toilet of Venus.
„ „ Ajax and Cas5andra.
Windsor Castle. Landscape ; going to Market.
„ His own Portrait.
„ St. George and the Dragon.
,, Farm at Laeken.
„ Landscape ; snowstorm.
BIBLIOGRAPHY.
J. F. Michel, 'Histoire de la vie de P. P. Eubens.'
Brussels, 1771.
A. Van Hasselt, ' Histoire de P. P. Eubens.' Brussels,
1840.
Alf . Michiels, ' Eubens et I'&ole d'Anvers.' Paris, 1877.
Paul Mautz, ' Eubens.' Gazette des Beaux Arts, 1881-
1883.
M. Eooses, ' Gescbiendenis der Antwerpsohe Schilder-
school,' pp. 247-94. Ghent, 1879.
G. F. Waagen, ' Peter Paul Eubens, his Life and Genius.'
London, 1840.
F. Von Eaveusburg, ' Eubens und die Antike.' Jena,
1882.
A. Baschet, ' Pierre-Paul Eubens, peintre de Vincent
de Gonzague, due de Mantoue . . . d'apres ses lettres
et autres documents iu^dits.' Gazette des Beaux
Alts, 1866-1868.
Gachard, ' Histoire politique et diplomatique, P. P.
Eubens.' Brussels, 1877.
E. Gachet ' P. P. Eubens. Lettres inedites publics
d'apres ses autographes.' Brussels, 1840.
"W. N. Sainsbury, ' Original unpublished papers illustra-
tive of the Life of Sir P.P. Eubens.' London, 1859.
Villaamil, ' Eubens diplomatico Espanol.' Madrid, 1874.
Ch. Euelens, ' P. P. Eubens. Documents et Lettres.'
Brussels, 1877.
Eugene Fromentin, ' Les maitres d'autrefois,' pp. 27-
125. Paris, 1877 L3rd Ed ].
' Le Bulletin-Eubens.' Antwerp, 1882, et seq.
Max Eooses, * L'oeuvre de P. P. Eubens.' 1886.
Catalogue of the Tercentenary Exhibition at Antwerp
in 1877. (' L'ceuvre de P. P. Eubens.')
A. J. Wauters, ' Flemish School of Painting,' p. 379.
London, 1885.
RUBENSTEIN, (or Riebenstbin,) drapery and
portrait painter, who resided in England many
years. He painted dead game and still-life, and
sometimes portraits, but his chief occupation was
painting draperies in the pictures of others. He
was a member of the St. Martin's Lane Academy,
and died in London about the year 1763.
RUBERTIS. See Grandi, Ercolb di Roberto.
EUBLALES, Pedro de, was a native of Estre-
madura, and flourished about the year 1545. Little
is known of his works in Spain, as he resided the
greater part of his life at Rome and Florence,
where he studied under Francesco Salviati, whom
he assisted in many of his works. He was also at
one time a coadjutor of Giorgio Vasari. Rubiales
painted as late as 1560, but the date of his death
is not known.
ECJBINI, an Italian painter of little note, who
practised at Treviso about 1650.
RUBIO, Antonio, a Spanish painter and pupil
of Antonio Pizarro. He was appointed painter to
the chapter of Toledo in 1645, and died in 1653.
RUBIRA, Andres de, a Spanish painter, was
bora at Escacena del Campo, and was a scholar
of Domingo Martinez, at- Seville. His applioatioji
and activity were very useful to his master in the
different works which he was commissioned to
paint ; for, it is said, he sketched the greater part
of the pictures in the ancient chapel of the Catlie-
dral, which were completed by Martinez. On his
return to Seville, from a, visit to Lisbon, he was
soon employed on works of great importance, such
as the pictures in the chapel of the Holy Sacrament,
in the college of San Salvador, a great part of
those in the college of S. Alberto, and most of
those that decorate the cloister del Carmen calzado.
He also occasionally painted conversation pieces,
and bambocciati. Rubira died at Seville in 1760.
RQBIRA, Josef de, son of Andres de Rubira,
was born at Seville in 1747. Though only thirteen
at his father's death, he would not submit to be
instructed by another master. He was an excellent
copyist of the works of Murillo. He died in 1787.
RUCHOLLE, Pierre, an indifferent French en-
graver, who flourished about the year 1690. He
engraved a few portraits, amongst which we have
those of:
Charles Emanuel, Duke of Savoy; after Vandyck; with
the address of J. Meyssens.
Louis XIV. ; after H. Riyaud.
RUDDER, Louis Henry de, historical painter,
was born in Paris in the early part of the 19th
century ; he was a pupil of Gros and of Gharlet,
entering the Ecole des Beaux Arts in 1827. He
exhibited regularly at the Salon between 1834 and
1880, and was much employed on decorative work
for America. He lithographed forty plates for
Prince Soltykoff's 'Voyage dans L'Inde,' and a
great many for Cuvier's 'Anatomic Compar^e.'
He died in 1886. Pictures :
The Divine Message. (Ministers de I'lntirieur, Faris.)
"Women Bathing. (T/ie same.)
Ecce Homo. (Ministere de L'Etat.)
Christ in the Garden of Olives. {The same)
The Alchemist, Nicholas Flamel. (Luxemlourg )
Ecce Homo. {Museum^ St. Etienne/)
Portrait of E. Pasquier. (Versailles.)
RUDE, Sophie, (nee Fr^miet,) was born at Dijon
in 1797. She was a pupil of David, and painted
historical and still-life pictures, and portraits. She
married Frangois Rude, the sculptor, and died in
Paris in 1867. Of her pictures we may name :
The Sleep of the Virgin. (Dijon Museum^
Charles I. parting from his Children. (Ministere de
VI terieur.)
The Duchess of Burgundy stopped at the gate of
Bruges. (Dijon Museum.)
Faith, Hope, and Charity. (Chapel of Mt. St. Michel.)
RUDOLF, Samuel, portrait painter, born in
Germany, 1639, practised at Nuremberg and at
Erlangen. He died 1713.
IIUDOLFI, Claudio. See Ridolfi.
RUDOLPH D'ANVERS, painter, practising at
Antwerp in the middle of the 16th century. In
425
Rue
A BIOGRAPHICAL DICTIONARY OF
Kuhl
1653 he painted an altar-piece for the church of
Saint- Victor, at Xanten.
RUE, DE LA. See Van Steaaten.
RUE, P. B. DE LA. See Db la Rub.
RUEL, Gabriel de, a Spanish historical painter,
resided at Granada at the commencement of the
17th century. There are several pictures by him
in that city. He was appointed painter to the
cathedral of Toledo in 1633. He died on Christmas
Eve, in 1641.
RUEL, JoHANN Baptist, painter, bom at Ant-
werp in 1634, went as a singer to the cathedral
at Mayence, and there studied under Johann
Thomas, called Ipenaer. He practised as an his-
torical and portrait painter, visited Vienna, where
he painted altar-pictures and portraits, and died
at Antwerp about the beginning of the 18th
century.
RUELLB, Claude de la. See De la Ruelle.
RUET, Db. See Dervet.
RUPO, Josef Martin, an historical and portrait
paintei', born at the Escurial, and educated at the
academy of S. Fernando. He flourished in the
second half of the 18th century.
RUGENDAS, Christian, the son of Georg
Philipp Rugendas, by whom we have a great
number of prints in mezzotint, after the designs of
his father, representing marches, halts, battles, &c.
He engraved about sixty of his father's designs ;
and there are by him about thirty etchings from his
own, which are much esteemed. He died at Augs-
burg in 1781, at the age of seventy-three.
RUGENDAS, Georg Philipp, painter and en-
graver, born at Augsburg in 1666, and first in-
structed in design by Isaac Fischer, a painter of
history ; but his genius leading him to paint battles
and skirmishes of cavalry, he formed his style by
studying the works of Borgognone, and the prints
of Terapesta. He had acquired considerable reput-
ation by his pictures of that description, when he
resolved to visit Italy, and, 1692, went to Venice,
where he passed some time, and was assisted in
his studies by Giovanni Battista Molinari. From
Venice he went to Rome, where it was not long
before his talents became known, and he met with
such flattering encouragement in that metropolis,
that he had thought of establishing himself there ;
but the death of his father obliged him to return to
Aussburg, and he quitted Italy with regret in
1695. In a few years after his return to Augsburg,
the war of the Succession broke out, when Rugendas
had an opportunity of personally witnessing those
scenes of slaughter and desolation which his ima-
gination had so frequently enabled him to trace
with his pencil. During the siege, bombardment,
and pillage of Augsburg, by the French and Bava-
rians, in 1703, he exposed himself to the most
imminent danger, to study the attacks of the be-
siegers, which he drew with sang-froid, surrounded
on all sides with carnage and destruction. He
afterwards published a set of etchings from the
drawings thus made.
Rugendas died at Augsburg in 1742. He de-
voted a considerable portion of his time to engrav-
ing, and has executed a great number of plates,
both etchings and in mezzotint ; among them the
following :
A set of six Plates ; entitled, Capricci di Giorgio Filippo
Rugendas. 1698.
Eight Plates ; erA\\i\&A, Diversi Pei^sierlfatto per GioV'
gio Filippo Rugendas, Pittore. 1699.
426
A set of eight Plates, representing horsemen.
Six Plates of Cavalry marching.
The Military operations of the French and Bavarian
armies at the siege of Augsburg ; in six Plates. 1704.
MEZZOTINTS.
Four Plates of Skirmishes between the Prussian and
Hungarian Hussars.
Four Plates of Lion and Tiger Hunts, &c.
RUGENDAS, Johann Lorenz, a German battle
painter, born in 1775, at Augsburg, where he be-
came Director of the Academy. He was the great-
grandson of G. P. Rugendas. There are some
etchings and aquatint engravings by him. He
died in 1826.
RUGENDAS, Johann Mokitz, aGerman draughts-
man, the son of J. L. Rugendas, was born at Augs-
burg in 1802. He studied under his father, and
also at Munich. In 1821, he set out on a series of
travels in Brazil with General Langsdorf. These
were afterwards extended to Mexico, Peru, and
other American States. The sketches he made in
these wanderings were published in :
' Malerische Beise in Erasilien.' Paris. 1835.
' Mexico,' by 0. Sartorius. London. 1855-8.
RUGGERI, GniDO, a native of Bologna, who
flourished about the year 1550. He was a disciple
of Francesco Raibolini, called II Francia, and ac-
companied Primaticcio to France, where he assisted
that master in his great work at Fontainebleau. He
is, however, more known as an engraver than as a
painter. He engraved several plates from the designs
of Primaticcio, which are executed in a style re-
sembling that of Marco da Ravenna ; and it is not
improbable that he learned engraving in the school
of Marc Antonio Raimondi. His plates were usually
marked with a monogram composed of a G. and
an R. joined together, with an F. for fecit. The
etchings attributed to this master partake of the
manners of Giulio Bonasone, Caraglio, and Giorgio
Ghisi ; but there is great uncertainty respecting
them.
RUGGIERI, Ercole, called del Gessi, the
brother of Giovanni Ruggieri, was also educated
in the school of Francesco Gessi, whose style he
followed with so much success, that his works are
with difficulty distinguished from those of his
master. Such are his picture of the ' Death of St.
Joseph,' in the church of S. Cristina di Pietra-
lata, at Bologna ; and the ' Virgin and Infant Jesus,
with St. Catherine, and other saints,' at the Servi.
RUGGIERI, Giovanni Battista, called del
Gessi, a native of Bologna, was bom in 1606, and
for some time a disciple of Domenichino. He
afterwards became a scholar of Francesco Gessi,
whom he accompanied to Naples, and assisted in
some of his principal works in that city, and at
Bologna. He visited Rome in the pontificate of
Urban VIII., when he was patronized by the Mar-
chese Giustiniani, and painted some pictures for
the churches and palaces. His principal works at
Bologna are, three altar-pieces in the church of S.
Barbaziano. Ruggieri died at Rome in 1640.
RUGGIERI, GiROLAMO, painter, born at Vicenza,
1662. Practised at Verona, nnd painted landscape
and battle-pieces. Died 1717.
RUHL, LuDWiG SiGiSMUND, painter and en-
graver, born atCassel 1794, son of Johann Christian
Ruhl, the sculptor. He studied in Germany and
Italy, and first brought himself into notice by his
picture of 'The Three Kings' (Miigi), a clever
imitation of the manner of the old masters. His
Buidimann
PAINTERS AND ENGRAVERS.
Runge
designs for ' Shakespeare's Plays,' and Biirger's
' Lenore,' are well drawn, and show much talent.
He was Director of the Cassel Gallery. His best
known pictures are :
Louis XIV. and James II.
Van Dyck's Studio.
Sleighing by Night.
RUIDIMANN. See REnTHMANN.
RUINA, Gasparo, an indifferent engraver on
wood, by whom we have a cut representing the
'Creation of Adam,' which is evidently taken from
the painting by Michel-Angelo, in the Vatican,
though it is inscribed, Hieronymo de Grandi,
pinxit. Gaspar Ruina, fecit. Zani and Brulliot
say he was the engraver who marked his prints
with three darts crossed, sometimes accompanied
with the letter G. There are several liistorical,
mythological, and allegorical prints by him, signed
Gasparo,/., or Gasparo Ruina,f.
RQINES, Robert des. See Robert, Hubert.
RUISGH. SeeRuYSCH.
RDISSCHER, J., engraver, practised in Holland
about the middle of the 17th century. He en-
graved landscape, and frequently treated subjects
introducing cascades and rushing water.
RUIZ, Antonio Gonzalez. See Gonzalez Buiz.
RUIZ, DE LA IGLESIA, Francisco Ignacio, was
born in Madrid about the middle of the 17th cen-
tury. He was the pupil of Francisco Camilo and
of Juan Carreno. He died at Madrid in 1704.
W^orks :
Madrid. Ho!<pital de \ p.„„..„.
„ Sto. Tomis. Assumption and Coronation of
the Virgin.
RUIZ-GONZALEZ, Pedro, was born at Madrid
in 1633. He studied under Juan Antonio Escalante
and Juan Carreno. Three of his best pictures were
burnt with the church of S. Millan in 1720, in
which church he himself had been interred eleven
years before, in 1709.
RUIZ GIXON, Jdan Carlos, lived at Seville,
about the year 1677. It would seem that he had
practised under Herrera the younger, as his style
entirely resembles that master's. This is particu-
larly observable in a picture of the Immaculate
Conception, surrounded by numerous angels, in the
cathedral at Seville, to which Buiz has signed his
name.
RUIZ, Juan Salvadobe, painter, was a member
of the Academy of Seville in 1671.
RUIZ-SARIONO, J[JAN, painter, born at Higuera
de Aracena, 1701, was a pupil of his cousin, A. M. de
Tobar. He practised at Seville, painting historical
subjects, but without much skill, and died in that
city in 1763.
RULLMANN, painter, born at Bremen in 1765,
first studied at the Academy in Dresden, and then
went to Paris, where his portraits gained hiui con-
siderable reputation. His studies from the old
masters in religious and historical subjects show
considerable talent. He died in 1822.
RUMEAU, Jean Claude, a French painter,
pupil of David and of Isabey, practised in Paris
early in the 19th century. There are by him,
' Charlemagne receiving the Ambassadors of
Haroun-al-Raschid ; ' ' Blue-Beard,' (fee. His last
appearance at the Salon was in 1822.
RUMILLY, Victorine ANG:fiLiQUE Am^lie, (rage
Geneve,) Madame, born at Grenoble, 1799, was a
pupil of Regnault, and painted portraits and genre
pictures. There are by her, ' Venus and Cupid,'
'Holy Family,' &c. She exhibited at the Salo^
from 1808 to 1839, and died in 1849.
RUMMEN, (or Bueemonde,) Jan van, a Flemish
painter, who in 1486 painted a picture and a re-
table for the church of L^au.
RUMP, Christian Gottfried, who was born in
1816 at Hillerod, in Denmark, studied art under
Sund at Copenhagen. He began his career as an
historical painter, and executed the ' Presentation
in the Temple' for the church of Gronholt, but in
1846 he turned his attention towards landscape
painting, and won for himself a name high among
the artists of Denmark. In 1855-56 he travelled
in Norway, and the two following years were spent
in Germany and Italy. In 1866 he was miide a
member of the Academy of Copenhagen, and in
1874 a Professor. He died at Frederiksborg in
1880. The following are among his best works :
Copenhagen. J!/at. Gall. View near Frederiksborg.
„ „ Landscape, Morning,
„ „ View in Soebygaard Forest.
„ „ View near Skjoergaarden.
„ „ Woodmeu, Frederiksborg.
„ Molihe Coll. The Four Seasons (a series).
RUNCIMAN, Alexander, historical painter, was
born at Edinburgh in 1736. He is said to have
served his apprenticeship to a coach-painter, and
by dint of mere practice to have acquired facility of
hand and a considerable intelligence in colouring,
though he was still uninstruoted in drawing the
figure. He travelled to Italy, where he studied for
five years, and painted a ' Nausioaa at play with
her Maidens.' On his return he lodged for a time
with Hogarth'-s widow in Leicester Square, and
exhibited some pictures in 1772. The next year
he settled at Edinburgh, where he conducted the
recently established Academy of Arts, and painted
some historical pictures, among which was an altar-
piece for the episcopal chapel in the Cowgate. He
was patronized by Sir James Clerk, who employed
him to decorate his mansion at Petmyouick with
some subjects from Ossian. He died suddenly in
1785. There are a few etchings by Runciman from
his own designs, among which are the following :
Sigismunda weeping over the Heart of Tanored.
A View of the Netherbow Port, Edinburgh.
RUNCIMAN, John, a Scotch historical painter,
and brother of Alexander Runciman, was born at
Edinburgh in 1744. He executed few works during
his short career, in which he showed very high
promise. About 1766 he accompanied his brother
to Rome for the purpose of study, but his health
gave way, and he died at Naples in 1768. There
is a monument to him in the Canongate Church,
Edinburgh. Among his works are :
Christ and the Disciples on the road to Emmaus.
{National Gallery, Edinburgh.)
King Lear in the Storm. {'ITie same.)
Portrait of himself. (The same.)
Judith and Holofernes.
RUN6ALDIER, Ignaz, engraver and miniature
painter, the son of a silver worker, born at Gratz in
1799, had his earliest lessons from Kauperz, and
in 1816 entered the Vienna Academy. His best
plates are : ' Ossian,' after KrafEt ; ' Jupiter and
Thetis,' after Fiiger ; ' St. Sebastian,' after Guido
Reni ; ' Madonna,' after Kadlik ; a portrait of
Fiiger the younger, after Fiiger. He also became
very successful in portrait painting in miniature.
He died at Gratz in 1876.
RUNGE, Philipp Otto, a painter, born at
Wolgast in Pomerania in 1776, studied first at
427
Buiik
A BIOGRAPHICAL MCTIONAEY OF
KuBca
Copenhagen under Abildgaard and Juel, and then
in Dresden. He made himself a name by an
allegorical representation of the 'Four Seasons,'
painted at Hamburg, and was afterwards much
employed in wall painting. He died at Hamburg
in 1810.
RUNK, Ferdinand, a German landscape painter,
born at Fribourg, Brisgau, in 1764. He acquired
a reputation by his ' Twenty-foiir Views in the
Tyrol,' aquatinted by Piringer, and by a series of
eight pictures of ' Nature, from the sea-coast to the
mountain-tops.' He died at Vienna in 1834.
There is a 'Tyrolese Landscape' by him in the
Vienna Gallery.
RDOPPOLI, GiDSEPPE, a painter of flowers and
fruit, who particularly excelled in the representation
of grapes, was born at Naples in 1600, and died
there in 1669.
EDPERT, Peince, the third son of the Elector
Palatine of the Rhine and Princess Elizabeth of
England, who played so considerable a part in
our Civil War as leader of his uncle, the king's,
cavalry, was born at Prague in 1619. At one time
he was looked upon as the inventor of the art of
mezzotint engraving, but it has been shown that
he learned it of Ludwig von Siegen, a Lieut.-
Colcmel in the service of the Landgrave of Hesse,
and introduced it into England. He died in London
in 1682. The following is a list of those prints in
mezzotint which can be assigned with some con-
fidence to ' Prince Rupert of the Rhine.' He made
use of the annexed monogram : m •
1. A Magdalene in contemplation ; after M. Merian.
2. An I&ecutioner holding a Sword in one hand and a
Head in the other, after Spagnoletto, known as ' The
Great Executioner.*
3. The Executioner's head, known as ' The Little Exe-
cutioner,' done for Evelyn's Seulptura, who informs
us that it was presented to him by the Prince him-
self, as a specimen of the newly invented art.
4. A Standard-Bearer {three-quarter length Jigure),
5. The same Figure to the shoulders.
fi. Bust of an Old Man with bald head and flowing
beard.
7. Portrait of a Young Man, leaning on his left arm.
8. Head of an Old Man with moustache (right profile) .
9. A "Woman's Head, looking down.
10. Boy with basket of fish, on sea-shore; ajier
Teniers (?).
11. Magdalen, turned to our right, her hands crossed on
her bosom.
12. Boy with lighted candle ; after Schalcken (?).
He is also credited with the following etchings :
1. A Mendicant Friar, with rosary ; in the manner of
Callot.
2. A Beggar singing ; Do.
3. Landscape with man driving a waggon.
4. (?) Old Beggar resting on staff.
5. (?) A Man with a basket on a stick over his
shoulders.
6. Scene on Sea-shore, » man carrying a sack in the
foreground.
RUPP, Ladislads, a Viennese architect and
engraver, was born in 1790. He was a pupil of
the Academy in his native town, but also studied
in Italy. The date of his death has escaped
RUPPRECHT, Feiedeich Gael, landscape
painter, etcher, engraver on wood, and architect,
was born at Oberzeun, near Anspaoh, in 1779.
After receiving some preliminary instruction at
Nuremberg, he went to Dresden and improved
428
himself by copying the pictures of Claude, Titian,
Paul Potter, and other old masters ; and also turned
his attention to architecture and perspective ; ac-
quiring considerable knowledge of both. In 1802
he made a tour through the south of Germany to
study landscape, but it being war time he met
with much interruption, and, to support himself,
was compelled to have recourse to portrait paint-
ing. He became acquainted with General Drouet,
whose portrait he painted, and those of several of
his ofiScers, and for some time accompanied the
former through Germany as his interpreter. Rup-
precht's water-colour landscapes are drawn with
great minuteness, and finished like miniatures.
He is, however, better known by his etchings ; he
also did a few woodcuts and a lithograph. As an
architect Rupprecht was employed to restore the
old cathedral of Bamberg to its primitive state,
and he prepared the plans, models, and drawings
for that purpose, and for some years superintended
the work, but did not live to witness the com-
pletion. The cathedral possesses about a hundred
and thirty of his drawings, some of which are
interesting to the antiquary, as representing curious
objects of ancient date discovered during the
restorations. In other respects, Rupprecht pos-
sessed much knowledge, particularly of history,
and showed much critical sagacity in matters con-
nected with the fine arts. An enlarged account of
his life and works was published at Bamberg in
1843, by J. Heller, and there is a portrait of him
after Klein. He died at Bamberg in 1831.
ETCHINGS.
1. Portrait of E. T. A. Hoffmann, for that writer's
' Phantasiestiicken,' published in 1819.
2. Cover for 'Germany's Celebration of the Battle of
Leipsic,' by K. W. Fiisser. 1815.
3. A Peasant counting Money ; signed and dated 1814.
4. The Chapel in the Wunderburg, near Bamberg. 1815.
5. The same subject with variations. 1815.
6. Mary with the Child, and two Angels.
7. The Chapel of St. EUzabeth, at Bamberg.
8. The Altenberg. 1816.
9. The Monument of Count Adelbert von Babenberg.
10. View of the Ruins of the Castle of Babenberg.
11. Monument of Adelbert in the wood near Altenbnrg.
12. Title to B. v. Hornthal's ' Deutsche Friihlineskranzen.'
1816.
13. Bamberg, from the north side. 1817.
14. View of Capuchin Church, Bamberg. 1817.
15. The same, with variations.
16. Church of the CarmeUtes, and Convent of St. Theo-
dore, in Bamberg, with Bussian carriages, aud
Cossacks on horseback. 1818.
17 and 18. Views of the town of Hochstadt on the Aisch.
1819.
19. Two Views of the Town-hall of Bamberg.
20. Two Views of the Cathedral of Bamberg. 1821.
21 and 22. Visiting Cards of Count von Lamberg and of
the artist.
RUPRECHT, JoHANN Christian, (Rhpeut,) a
German painter, was born at Nuremberg in 1600.
He copied the works of A. Durer and several other
masters with great talent. He also produced
several original compositions, among which was
the 'Raising of Lazarus,' in the church of Se-
bald at Nuremberg. The Emperor Ferdinand III.
carried him to Vienna, where he died in 1654.
RUSCA, Francesco Carlo, a painter, was bom at
Lugano in 1701. He studied law, but abandoned
it for art, which he studied at Turin under Amiconi ;
and at Venice from the works of Titian and Veronese.
From Venice he travelled through Switzerland,
Hanover, Berlin, and came also to England. He
Kuscheweyh
PAINTERS AND ENGRAVEES.
B,utten
died at Milan in 1769. He painted several portraits,
among which were :
The Countess Schuleuburg.
The Doge of Venice.
Charles I. of Brunswick. (^Brunswick Gallery^
RUSCHEWEYH, Ferdinand, a designer, en-
graver, and lithographer, who distinguished himself
by his engravings after Cornelius, Overbeok, Steinle,
and other artists of the same school ; also after Fra
Angelico, Raphael, Giulio Romano, Miohel-Angelo,
and Thorwaldsen. He was bom at Neustrelitz in
1785, and commenced his studies at Berlin about
1803. He passed some time at Vienna, and in 1808
went to Rome. His enthusiasm for the older Italian
masters, and his desire to emulate Marc-Antonio,
made him the natural interpreter of those painters
who wished to restore the ancient simplicity and
religious feeling of art. Ruscheweyh's engravings
did much to diffuse the knowledge of these artists
throughout Europe. While at Rome he engraved
the beautiful illustrations to Goethe's Faust by
Cornelius, many sacred and classical subjects by
Overbeck, in addition to a long list of plates after
the old Italians. On his return to his native
country in 1832, he engraved the 'Jews in Exile,'
after Benderaann ; ' Christ in the Temple,' and
' Ruth and Boaz,' after Overbeck. He died in 1845.
RUSS, Karl, painter and engraver, born at
Vienna in 1779, was a pupil of Schmitzer and
Maurer. In 1800 he was appointed guardian of the
Belvedere Gallery at Vienna. In 1822 he exhibited
a series of pictures, thirty-seven in number, repre-
senting scenes taken from the history of the House
of Hapsburg. He died in 1843.
RUSS, Leander, painter, born at Vienna in 1809,
was a pupil of the Academy in that city, and painted
military subjects in water-colours, such as the
Battles of 'Kolin,' ' Caldiero,' and 'Leipzic' ;
and 'Charles XII. at Poltawa.' He also worked
much in Indian-ink. He died at Vienna in 1864.
RUSSEL, Antony, an English portrait painter,
the son of Theodore Russel, born about 1660. He
is supposed to have studied under Riley. Many of
his works were engraved by J. Smith and Vertue.
He died in 1743.
RUSSEL, Theodore, a Flemish portrait painter
and copyist, born at Bruges in 1614. He learned
his art under his uncle, Cornelius Jansen, and Van
Pyck, with whom he lived in England. His chief
patrons were Lord Essex and Lord Holland. He
found much employment as a copyist, especially of
Van Dyck's portraits. The date of his death is not
known. The following are some of his works :
Hampton Court. Copy of Rubens' ' Thomyris re-
ceiving the ht ad of Cyrus.'
Holyrood Palace. Charles II.
„ James II.
London. Nat. Portrait ) Sir John Suckling ; after Van
Gallery. J Dyclc.
Woburn Abbey. Several portraits.
RUSSELL, John, son of a bookseller, an English
portrait painter, chiefly in crayons, born at Guild-
ford in 1744, was a pupil of Francis Cotes, whose
manner he followed. His portraits are not in-
ferior to those by Cotes, though somewhat florid
in colour. Time and dust have destroyed a great
many. He published a work on the elements of
painting in crayons, which was considered valuable
at the time, and went through two editions. He
was also fond of astronomy, and constructed a
model showing the appearance of the moon, for
which he obtained a patent: he called it the
Selenographia, and published a description with
plates engraved by himself. In 1788 he was elected
an R.A. He was portrait painter in crayons to
George III. and to the Prince of Wales. He
visited some of the principal towns in England, in
pursuit of his profession, and died at Hull in 1806.
RUSSELL, William, an English portrait and
subject painter, born in the latter part of the 18th
century. He was the son of John Russell, R.A. He
practised in London, and exhibited at the Academy
from 1805 to 1809, after which year no trace of
him can be discovered.
RUSSI, Franco de'. See Crivelli, Taddeo de'.
RUSSI, Giovanni, or Franco, de', miniature
painter, a native of Mantua. In 1455-61 he illumin-
ated the ' Este ' Bible for Borso, Duke of Modena,
in conjunction with Taddeo Crivelli.
RUSSO, Giovanni Pietro, a painter of Capua, of
some local celebrity, who lived in the 17th century.
RUSTICI, Cristoeoro, painter, the son of Iii
Rdstico, practised in Italy in the 16th century, and
imitated the style of his father.
RUSTICI, Francesco, (Rustichino,) born at Siena
about the year 1595, was a pupil of Francesco
Vanni. He for some time imitated the style of
Michel-angelo Caravaggio, while his subjects re-
semble those of Gerard Honthorst. He studied
at Rome the works of Annibale Caracci and Guide,
and painted some pictures there for the public
edifices and private collections. His best picture
is an ' Annunciation,' at Siena. In the Pitti Gallery
there is a fine ' expiring Magdalene ' ; and in the
Palazzo Borghese at Rome, there is a ' St. Sebastian '
by Rustici. He died in the prime of life, in 1625.
RUSTICI, ViCBNZo, painter, practising in Italy
in the 17th century, was a member of the artist
family of Rustici, but less famous than the rest.
He was a pupil of Casolano.
EUSTICO, II, painter, practised at Siena in
the 16th century, and was a pupil of Sodoma.
He devoted himself mainly to the treatment of
grotesque subjects.
RUSUTI, FiLlPPO, (RuSERUTl,) was the author of
some mosaics in the church of Santa Maria Mag-
giore, Rome, which were executed about the year
1380, and represent Christ in the act of benediction,
various Saints, and the legend of the Church's
foundation.
RUTA, Clementi, painter, born at Parma, 1668,
a pupil of Spolverini and of C. Cignani, came to
Naples in the train of Charles de Bourbon. He
became blind towards the close of his life, and died
in 1767.
RUTGERS, , called Old Rutgers, was an
excellent designer of landscapes with the pen and
in water-colours, of whose life there is no account.
His manner is broad and vigorous, and his figures
well grouped.
RUTHART, Karl, (Rdtharts,) a German
animal painter who is known to have been in
Italy from about 1660 to 1680, and to have stayed
some time in Venice: further details of his life
are entirely wanting. His pictures, representing
stag and bear hunts, are found in most German
galleries. In the Dresden Gallery are four pictures
signed with his name : ' Ulysses and Circe ; ' ' Stags ; '
' Stags pursued by Dogs ; ' and a picture of large
dogs used in bear hunts. In the Louvre there is
also a 'Bear Hunt.'
RUTTEN, Jan, painter of interiors, was born
at Dordrecht in 1809. He was a pupil of A. Van
429
Ruviale
A BIOGRAPHICAL DICTIONARY OF
Ruysdael
Stry, whose granddaughter he married, and of G.
A. Schmidt.
RUVIALE, Fkanoesoo, called 1l Polidoeino.
According to Dominici, this painter was a native of
Spain, though he was brought up at Naples, where
he flourished about the year 1540. Having seen
some of the works of Polidoro da Caravaggio at
Naples, whither he had fled from the sacking of
Rome, he became his disciple, and followed the
style of that artist with so much success, that he
acquired the name of II Polidorino. His principal
works at Naples are a 'Dead Christ, with the Virgin
Mary and St. John,' in the chapel of the Courts of
Justice ; and the ' Descent from the Cross,' in that
of the Vioaria Griminale.
RUWERSMA, Wessel Pietee, born at Kollum,
Friesland, in 1750, was a self-educated painter of
portraits and landscape. He died at Buitenpost in
1827.
RDYSCH, Anna, a painter of flowers and fruits,
after the manner of Rachel Ruysch, to whom she
is supposed to have been related. She practised in
Holland towards the end of the 17th century.
RUYSCH, Rachel, (Ruisoh,) flower painter, born
at Amsterdam in 1664, was the daughter of Fred-
erick Ruysch, a celebrated professor of anatomy.
At a very early age, without the instruction of a
master, or any other assistance than that of copying
the prints that accidentally fell in her way, she
gave such proofs of an unusual gift for art, that
her father placed her with William van Aelst, an
eminent flower painter. She soon surpassed her
instructor, and being recommended by her extra-
ordinary talents was appointed paintress to the
Elector Palatine. She married, when young, a
portrait painter, Jurian Pool, and is sometimes called
by his name. They lived together about fifty years,
and had ten children, yet she always signed her
pictures with her maiden name. She was more
Successful in painting flowers than fruit, and she
chose exotics in preference to those that were
indigenous to her country. She is admirable in
her manner of grouping as well as in pencilling ;
and each flower is relieved by its neighbour, and
all kept in perfect harmony. With great taste and
judgment she introduced among her flowers the
insects peculiar to the country whence they were
derived ; and these she depicted with microscopic
accuracy. The labour she bestowed on her works
prevented their being numerous ; two, a flower
and a fruit piece, are said to have occupied her for
seven years ; and these she bestowed on one of her
daughters as a marriage portion. Rachel Ruysch
continued the exercise of her talent until she had
reached a very advanced age, and died at Amster-
dam in 1750. Works :
Amsterdam. Museum. Flowers.
„ „ A Bouquet.
„ „ Flowers.
Berlin. Museum, A Bouquet.
Brussels. Museum. Flowers and Fruit.
Dresden. Gallery. Three pictures of Flowers and
Fruit.
Glasgow. Gallery. Flowers in a Vase.
„ „ Flowers and Insects.
Hague. Museitm. Two Flower Pictures.
Munich. Museum. Five pictures of Flowers and
Fruit.
Botterdam. Museum. Flowers.
„ Gallery. Large Flower-piece.
Vienna. Liechtenstein \ Two pictures of Flowers and
Gallery, j Fruit.
RDYSDAEL, Tsaao van, the brother of Solomon
and Jacob van Ruysdael, lived at Haarlem. He
430
combined the trade of picture-dealing and the pro-
fession of painting. His works, which are mostly
landscapes, are found in a few German galleries.
He died at Haarlem in 1677.
RUYSDAEL, Jakob van, (or Roisdael,) land-
scape painter, was bom at Haarlem about 1630.
He was the son of Izaak Ruysdael, a frame-maker,
and a pupil of Everdingen. In 1648 he entered the
Guild of Haarlem, but in 1659 went to Amsterdam,
where his co-religionists, the Mennonites, took him
into their almshouse. It is not known under whom
he studied, but Houbraken informs us that, although
he bad given proof of extraordinary ability at the
early age of fourteen, he did not at first follow
painting as a profession, but for some years applied
himself to the study and practice of surgery. He
afterwards lived in habits of intimacy with Nicholas
Berghem, and he is said to have been advised by
that artist to devote his attention entirely to paint-
ing. His success warranted the recommendation
of his friend ; his pictures were purchased with
avidity, and he soon became one of the most popular
painters of his time.
In the pictures of Ruysdael, it is evident that he
designed everything from nature, and he is un-
usually happy in his selection of it. His trees and
broken grounds are pleasing in form, and his skies
light and floating. The talents of Ruysdael were
not confined to landscape proper, he painted sea-
pieces with equal success, and his pictures of fresh
breezes and gales of wind are equal to those of
any other painter of his time. Ruysdael's pictures
are sometimes provided with figures by Adriaan
Van der Velde, or Philips Wouwerman.
It is said that Ruysdael visited Italy, but the
assertion rests on no sure foundation ; there is more
probability that he lived for some time on the
borders of Germany, and there found those valleys
between ranges of mountains, with the remains of
ancient ohfiteaux, the solemn woods and groves,
or impetuous waterfalls he so often painted. Some
have made him a student of the wild scenery of
Norway ; but with no authority beyond the subject
of his pictures. In spite of his fondness for paint-
ing the wilder appearances of nature, it is scarcely
too much to say, that the comparatively uneventful
pictures from the neighbourhood of Haarlem are
those in which he charms us most. Smith's Cata-
logue describes four hundred and forty-eight pic-
tures by Ruysdael, leaving out those that properly
belong to Everdingen, and a few duplicates or
copies. Ruysdael has left a few slight but effect-
ive etchings. He died at Haarlem in 1682. Of
his pictures we may name :
Amsterdam. Museum.
Antwerp. Museum.
Brussels. Museum.
Castle Howard.
Dresden, Gallery.
Dublin. iVat. Gall.
Edinburgh. Nat. Gall.
The "Waterfall.
The Castle of Bentbeim,
"Winter Landscape.
"Wooded Landscape.
View from Haarlem.
Landscape.
Three Landscapes.
Sea-pieces.
The Jewish Burial Ground.
A Landscape; with figures by
Van de "Welde.
A Stream running through »
Valley.
A "Waterfall ; and nine other
landscapes of a similar kind.
The ^yind-mill.
A "Woody Landscape.
Wood on the Banks of a River.
Landscape, with Figures by
"Wouwermann.
Kuysdael
Glasgow.
PAINTERS AND ENGRAVERS.
Byckaert
London.
Gallery.
Nat. Gall.
Dahoich Gall&i'y.
„ Bridyewater Gall.
Luton. Marqais of Bute.
Madrid.
Muoich,
Museum.
Pinakothek.
Oxford. Worcester Col-
lege,
Paris. Louvre.
Petersburg. Hermitage.
The Hague. Museum.
View of Katwyk.
Landscape with Figures.
The Ford.
Landscape, Buins, and Figures.
Seapiece.
Small Landscape.
A Landscape with Kuins (Bre-
derode Oastle).
Forest Scene.
Two Watermills.
Kock Landscape with Torrent.
Watermills and Bleachers.
An Old Oak.
The Broken Tree.
The Plain of Holland, from
Brederode Oastle.
Four Landscapes with "Water-
falls.
Two Windmills near a Pathway.
A Waterfall.
The Edge of a Wood.
Six Landscapes,
Interior of a church at Amster-
dam.
Two Landscapes.
A Waterfall.
A Torrent.
Seven Landscapes.
> Wooded Landscape.
The Storm.
Forest, with Cattle.
Landscape known as ' Le Buis-
son.'
Landscape known as ' Le Coup
de Soleil.'
Two more Landscapes.
Mountain, with still water.
A View of Haarlem.
A Waterfall.
RUYSDAEL, Jakob van, a cousin of the cele-
brated painter of the same name, ia recorded as a
painter by Van der Willigen. He was Master of
the Haarlem Guild in 1664. Other details of his
life are unknown, as also are his works. He died
at Haarlem in 1681.
RUYSDAEL, SAtoMON van, the uncle of Jakob
vanRuysdael, was born at Haarlem at the commence-
ment of the I7th century. He painted landscapes
and views of rivers in Holland, in which he modelled
himself on Van Goyen. He was particularly suc-
cessful in the representation of water. In 1648
he was Dean of the Haarlem Corporation. He
died in 1670. Works :
Amsterdam. Museum.
The Halt.
Antwerp. Museum.
The Village Inn.
Calm at Sea.
Berlin. Museum.
Brussels. Museum.
Five Landscapes.
The Ferry.
» it
Dresden. Gallery.
Dublin. Nat. Gallery.
Landscape.
Three Landscapes.
View of Alkmaar in Winter
Glasgow. Gallery.
Munich. Gallery.
Eotterdam. Museum.
Kiver Landscape.
Three Landscapes.
The Maas at Dordrecht.
RUYTEN, Joannes Michael, painter, born at
Antwerp, 1813. He first studied under Regemorter,
then in Holland under W. J. Nuyen. He painted
chiefly views of towns and coast scenery, into
which he introduced figures ; and he was fond of
trying effects of light, which were not always
happy in execution. He also etched a few plates.
He died in 1881.
RUYTENSCHILDT, Abbaham, painter, bom at
Amsterdam, 1778, a pupil of J. Andriessen and of
P. Barbiers, painted landscape and genre pictures.
He-died in 1841.
RUYVEN, PiETEB van, born at Leyden, 1651,
was a pupil of Jakob Jordaens, and an historical
painter of talent. He painted the triumphal arch
for the entry of William of Orange, King of Eng-
land, into the Hague. He died in 1716.
RDZULONE, PiETEO, living at Palermo in the
15th century, was the contemporary, and probably
the pupil, of Vigilia. The Duomo of Termini '
possesses a ' Crucifixion ' by this artist, where the '
Virgin, Evangelists, and Mary Magdalene, the
Pelican and Serpent, are on one side ; with the
Resurrection, and the symbols of the Evangelists,
on the other; it was painted in 1484. He is known
to have been living up to 1517, but the dates of
his birth and death are alike uncertain.
RY. See Danokebts.
RYALIj, Henky Thomas, an English engraver,
born at Frome in 1811. He was a pupil of Sam.
Reynolds, and practised on copper and steel,
adopting a combination of the line and stipple
manners. His works won him a considerable reput-
ation, and he was appointed historical engraver to .
the Queen. Specimen works afe to be found in
' Eminent Conservative Statesmen ' (1836-46), and
in Lodge's Portraits. He died at Cookham in 1867. '
Amongst his best single plates are :
Columbus at La Rabida ; after Wilkie.
Coronation of Queen Victoria ; after Hayter.
There's Life in the Old Dog yet; after Laitdseer.
Christening of the Princess Eoyal ; after Leslie.
The Holy Well ; after Burton.
Portraits of the Queen and the Prince Consort ; after
miniatures hy Sir William Boss.
RYGK, PiETEE Cokneliszen van, painter, born
at Delft in 1666, was first placed under the tuition
of Jacob Wittemeszen, but he afterwards became
a scholar of Hubrecht Jacobszen. On leaving that
master he went to Italy, and passed some years at
Venice, where he formed his style by studying the
works of Giacomo Bassano. He painted history
and pastoral subjects, which were esteemed in his
time. He died at Delft in 1628.
RYCKAERT, David, the first, was born in 1560,
and died about 1607. He was received into the
Antwerp Academy of St. Luke in 1585, and in
1589 was married to one Catherine Rem. He was
mostly employed in painting figures in the pictures
of other men.
RYCKAERT, David, the second, son of David the
first, was born at Antwerp, 1589. He excelled in
painting mountain scenery. His eldest daughter
married Gonzalez Coques. He died in 1642.
RYCKAERT, David, the third, the son of David
Ryckaert the second, was born at Antwerp in 1612,
and instructed in landscape painting by his father ;
but the high estimation in which the works of
Brouwer and Teniers were then held, induced him
to attempt similar subjects, in which he was soon
very successful. The Archduke Leopold, a great
encourager of art, favoured him with his particular
protection. In 1651 he was appointed director of
the Academy at Antwerp, and his pictures were so
much admired, that it was with difficulty he could
keep pace with the demand for his works. He
usually painted assemblies of peasants regaling,
musical parties, and the interiors of chemists' labor-
atories ; though he occasionally attempted subjects
of a more elevated character. Towards the latter'
part of his life he represented grotesque subjects,
which were very common at that time. His piin-
cipal pictures are : ' A Family Concert,' in the
Liechtenstein Gallery at Vienna ; ' A Peasant's
dwelling,' at Berlin; 'A Shoemaker,' at Amster-
dam. He died in 1661. He left a son, an obscure
431
Ryckaert
A BIOGRAPHICAL DICTIONARY OF
Byland
painter and a fourth David Ryckaert, who was
born in 1649, and died after 1698.
RYCKAERT, Friedme, painter, was a member
of the Guild of St. Lulce at Antwerp, 1550. About
1570 he painted a large altar-piece for the church
of St. Jacques.
RYCKAERT, Martin, painter, son of David the
first, was born at Antwerp in 1587, and was for a
time a disciple of Tobias Verhaeclit, an artist of
considerable celebrity. Martin had only one arm.
On leaving Verhaecht he went to Italy, where he
studied several years, and returned to hia native
country with a great variety of drawings from the
most remarkable views in the vicinity of Rome.
With these resources, he distinguished himself as
one of the ablest landscape painters of his time.
He was fond of ruins, rooks, mountains, and water-
falls. His works are occasionally decorated with
figures by Jan Brueghel. He lived in habits of
intimacy with Vandyck, who painted his portrait
in his series of eminent artists. Ryckaert died at
Antwerp in 1631 or 1632.
RYCKAERT, Paul, painter, bom at Antwerp,
1592, another son of David Ryckaert the first.
Nothing is known of his life or works.
RYCKE, Bernard, painter, born at Courtrai,
was made a member of the Guild of St. Luke at
Antwerp in 1661. At the church of St. Martin at
Courtrai there are two pictures by him : ' Christ
bearing the Cross,' and the 'Beheading of St.
Matthew.' In 1589 he was chosen by Raphael van
Coxcie as one of the experts who were to decide
upon the merits of the 'Last Judgment,' painted
by that artist for the town of Ghent. He died at
Antwerp.
RYCKE, Daniel. See De Rycke.
RYCKE, WiLLEM or William. See Db
RycKB.
RYCKER. See De Rycker.
RYCKMAN, Nicholas, a Flemish engraver,
born at Antwerp about the year 1620. From his
style, it is probable that he was a pupil of Paul
Pontius. His plates are executed with the graver
in a neat, formal manner, and his drawing is
generally incorrect. We have, among others, the
following prints by him :
The Adoration of the Magi ; after Rubens. The hest
impressions are before the address of either Gas.
Huberti, or Corn, van Merlen.
The Entombment ; after the same.
The Holy Family ; after the same.
Christ and the Twelve Apostles ; after the same ; thirteen
plates. The best impressions are before the address
of B. Coninck.
Achilles discovered by Ulysses at the Court of Lyco-
medes ; after the same.
RYCX, Jan, born at Bruges, in 1585. Of his life
and works there is no record. He was the father
of three sons, Paul (g. «.), Mathias, and Nicolas
{q. v.), whose names are all found in registers of
the painters of the period. Died 1643.
RYCX, Nicholas, (Ryckx,) the son of Jan, was
born at Bruges in 1637. It is not said by whom
he was instructed ; but having learned the rudiments
of design, he embarked in a vessel bound for the
Levant, and travelled through Palestine, where he
made designs of the most remarkable views in the
vicinity of Jerusalem, and delineated with great
precision the customs and costumes of the Orientals,
their caravans, camels, and modes of travelling.
On his return to Flanders he painted pictures of
those subjects, which were much esteemed. In
432
1667 he was received into the Academy at Bruges,
vifhere he died after 1695.
RYCX, Paul, the elder, son of Jan Rycx, born at
Bruges, 1612, was a historical painter, and became
a member of the Corporation of Bruges in 1635.
In the !^glise S. Sauveur at Bruges there is a S.
Jerome by him, signed P. rycz,fe., 1644.
RYCX, Paul, the younger, born at Bruges, 1649,
was an active member of the Corporation of
Painters at Bruges between 1672-77. Died, 1690.
RYDER, Thomas, an English engraver, born in
London in 1746, was one of the artists employed
by Boydell to engrave the Shakespeare Gallery,
for which he executed eight of the large plates.
They are among the best, and are after Fuseli,
StotJiard, SmirJce, Northcote, Mamberg, Durno,
Hamilton, and J. F. Rigaud. He also engraved
after Angelica Kaufmann, Shelley, and others. He
executed several plates in the dotted manner,
which possess great merit. Among others, are the
following :
The Captive ; after J. Wright.
The Last Supper ; after West.
The Murder of James I. King of Scotland ; after Opte.
RYE, EGIDIU.S DE. See Db Rye.
RYLAND, William Wynne, an eminent English
engraver, born in London in 1732, was a pupil of
Simon Francois Ravenet, who was at that time
established in England. On leaving that master
he went to Paris, where he studied design for some
time under Roubillac, and received the instruction
of J. P. le Bas in engraving. After a residence of
five years in Paris, where he engraved several
plates, he returned to England, and was soon after-
wards appointed engraver to the king. He en-
graved two whole-lengths of his Majesty, after
RaTnsay, and a portrait of the Queen, after Cotes.
In the latter part of his life he applied himself to
engraving in the chalk manner, partly after draw-
ings by the old masters, but principally from the
pictures of Angelica KaufEmann. This style he
is said to have first introduced into England, and
he certainly improved it. In the work entitled
' A Collection of Prints in Imitation of Drawings,'
published by Charles Rogers, in 2 vols, folio, there
are fifty-seven by Ryland, besides the admirable
mezzotint portrait of Rogers at the commence-
ment. These, with few exceptions, are after the
old masters, chiefly the Italian. Ryland held the
appointment of engraver to George III., with a
pension of £200 per annum ; and he carried on an
extensive business as a printseller. Towards the
end of his life he entered into a liaison with a young
woman, who involved him in great expenses, to
provide for which he stepped from the path of
honesty. In 1783 he was tried on a charge of
forgery, condemned, and, in spite of the efforts of
his friends, hanged. His brother had very narrowly
escaped the same fate the year before, on conviction
of highway robbery. A short memoir of William
Ryland was published in 1784. The following are
perhaps the best of his 200 plates :
George III. ; after Ramsay.
Queen Charlotte ; after Cotes.
John Stuart, Earl of Bute ; after Ramsay.
The Last Supper ; after Leonardo da Vinci.
God the Father enthroned on clouds ; after Raphael.
Antiochus and Stratonice ; after P. da Cortona.
Jupiter and Leda ; after F. Boucher.
The Graces bathing ; after tlie same.
Charity ; after Vandyck.
Four plates representing the Muses, Urania, Thalia,
Erato, and Clio ; after Cipriani.
Hyley
PAINTERS AND ENGRAVERS.
Ryther
King John signing Magna Charta ; after Mortimer : this
plate was left unfinished, and completed by Bartolozzi
for the benefit of Kyland's widow.
Fourteen plates engraved for the edition of Walton's
Angler published by Sir John Hawkins in 1760.
The following are all after Angelica Kauffmann :
Patience ; ovaJ.
Perseverance ; oval.
Maria, from Sterne's Sentimental Journey.
Telemachus recognized at the court of Sparta.
Achilles lamenting the Death of Patroclus.
Penelope awakened by Euryclea.
Eleanor sucking the Poison from the Wound of Edward.
Lady Elizabeth Grey before Edward IT.
The Judgment of Paris.
Venus on her Car.
The Flight of Paris and Helen.
Venus presenting Helen to Paris.
Juno borrowing the Cestus of Venus.
A Sacrifice to Pan.
Cupid bound, with Nymphs breaking his Bow.
Cupid asleep, with Nymphs awakening him.
Oymon and Iphigenia.
The Interview between Edgar and Elfrida after her
marriage with Athelwold. This plate was left im-
perfect, and was finished by Sharp for the benefit of
Byland's widow.
RYLEY, Charles Reuben, an English historicnl
painter, bom in London in 1762, was the son of a
private in the Life Guards. For some time he
worked with the graver, and obtained a, prize at
the Society of Arts in 1767. Aiming at higher
things, he studied under J. H. Mortimer. In 1778
he obtained the gold medftl of the Academy, where
he began to exhibit in 1780. He lapsed into dis-
sipated habits, and his works failed to fulfil their
early promise. He was employed by the Duke of
Richmond in the decoration of Goodwood House.
He also taught drawing, and illustrated books. He
died in London in 1798.
RYMSDYCK. See Remsdyke.
RYNE, John van, a Dutch engraver, was born in
Holland in 1712. He came to London, where he
resided about the year 1750. He engraved a
variety of views in England, the East Indies, &c.
He died in 1760.
RYNVICSH, 0., a landscape painter, practising
in Holland about 1640, in the style of Velvet
Brueghel.
RYSBEACK, Pieter Andries, (or Eysbregts,)
born at Antwerp in 1655, was a scholar of Frangois
Millet, whom he accompanied to Paris. Following
the example of his instructor, he set himself to
the study of the landscapes of G. Poussin. His
pictures were much admired in France, and en-
deavours were made to detain bim in Paris ; but
attachment to his country prevailed, and he returned
to Antwerp, where he was made director of the
Academy in 1713. The landscapes of Rysbruck
are distinguished by a grandeur, which, though
founded on Gaspar Poussin, has sufficient originality
to raise him above the rank of a mere plagiarist.
Eysbrack etched six landscapes. At the bottom
of each, on the left, is inscribed P. Rysh-ach, pinx.
fecit ei excudit. They are named from the figures
in them: 'Diana at the Bath,' 'The Woman in a
Veil,' ' The Fishermen,' ' Sun-rise,' ' Conversation
on the Road,' 'The Woman with the naked back.'
Eysbrack died at Brussels in 1729.
RYSBRACK, Pieter Andries, the younger, son
of the last named, practised in Flanders early iu
the 18th century. He was a member of the Guild
of St. Luke at Antwerp in 1709.
RYSBROECK, (or Reesbroucq,) Jakob van,
engraver, a member of the Guild of St. Luke at
Antwerp in 1642. He settled at Hoogstraeten,
and died there in 1704.
. RYSEN, Warnard, (or Werner,) van, painter,
born at Bommel about the year 1600, was a scholar
of Cornelius Poelemburg. He resided some time
in Italy, and on his return to Holland painted land-
scapes, with historical figures, in the style of his
instructor, which were held in consideration. He
is said to have abandoned painting, to become a
dealer in diamonds.
RYSZ, Pieter, portrait painter, practised at the
Hague in the second half of the 17th century, and
finally settled in England, where he died. He was
a pupil of J. de Baan.
RYTHER, Augustine, an English engraver and
printseller, who flourished in London in 1590. He
engraved some plates of the Spanish Invasion ; a
curious map of Yorkshire, with views of York and
Hull in the comers ; and large plans of London
and Westminster on wood ; of Cambridge and of
Oxford on metal, dated 1578. The well-known
plates of the Spanish fleets, with some plans of forti-
ficadons and batteries on the river Thames for the
protection of London, are now looked upon as
having been executed by him. The map of York-
shire was one- of a complete series of the counties,
engraved under the superintendence of Christopher
Saxton, (who lived at Bingley, near Leeds, between
1573 and 1579,) and published at London in a folio
volume in the latter year. Though the greater
number were the work of Flemish engravers,
eight at least were by two Englishmen, one of
whom was Ryther. The name " Augustinus Ryther,
Anglus," occurs on the maps of Westmoreland,
Cumberland, Gloucestershire, and Yorkshire.
VOL. II.
F F
433
Saal
A BIOGRAPHICAL DICTIONARY OP
Sabbatini
s
SAAL, Gborq Eduaed Otto, landscape painter,
born at Goblentz in 1818, studied at Diisseldorf
under Schirmer, 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.
SAAVEDRA. See Del Castillo y Saavedra.
SABATELLI, Francesco, history painter, born
at Florence in 1803, was the pupil of his father,
Luigi Sabatelli. He studied 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, Luigi 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, Luigi, the elder, history painter
and etcher, born at Florence in 1772, studied at the
Academy of that 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 David; in the Chapel of the Virgin at
Arezzo.
The Blessing of the Children ; in the Faroni Palace at
Genoa.
Heliodorus driven from the Temple.
Portrait of the Artist him.self.
The Four Great Prophets ; in St. Gaudenzio, Novara.
The Olympic Games ; in the Pitti Palace in Florence.
The Marriage of Cupid and Psyche ; in the Busca Ser-
helloni Palace in Milan.
The Adoration of God through Prophets and Patriarchs ;
in the Church of Valmadrera at Leeco.
Three Scenes from the Life of Galileo.
The Triumph of Cupid ; in the Villa Giontiniat Florence.
The Ooronatiou of the Virgin ; in S. Firenze in Florence.
The Plague of Florence. (Etching.)
The Visions of the Apocalypse. (Do).
In many of his frescoes he was assisted by his
son LuiQ] 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.
Plis son Laurent succeeded his father in his prac-
tice, and was an artist of much merit.
SABBATINI, Andrea, (Sauatini,) 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
434
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 suflicient 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 b3' alterations made in that church, but
those in the vestibule of the inner court of S.
Gennaro dei Poveri still exist. Other works are :
^'■^'*'' ChapdJmiZl ] ™« As.sumption of the Virgin.
„ iS. Spirito di Palazzo. The Adoration of the Magi.
„ S. Domenico Mag~\Tlhti Madonna and Bambino,
giore. 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. Placidus.
Salerno. Duomo. A Pieta.
Sabbatini died at Gaeta in 1545.
SABBATINI, Lorenzo, called Lorenzino da
Bologna, was born about 1530 at Bologna, where
he studied under Tibaldi. After having painted
several pictures for the churches at Bologna, he
visited Rome during the pontificate of Gregory
XIII., and improved his 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. lie 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-
junction 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
piotui'es we may name :
Bologna. 8. Pietro and ) . im j -iv c • i.
S Paulo \ Madonna with Saints.
„ S. Maria delle ) m. r\ -a ■
Grazie. j The Crucifixion.
„ La Morte. The Assumption.
" -gj.g "•*' [ St. Joachim and St. Anne.
„ jS. Giacomo. St. Michael vanquishing the
Eebel Angels.
Sablet
PAINTERS AND ENGRAVERS.
SaccMati
Bologua. S. Giacomo. The Four Evaugelists.
„ „ The Four Doctors of the
Church.
Dresden. Gallery. Marriage of St. Cathariue.
Paris. Louvre. Virgiu and Child and St. John.
SABLET, Jacques Henei, 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, Jeak FRANgois, was bom at Morges,
in Switzerland, in 1751, and taught the rudiriients
of art by a decorator at Lyons. He then went to
Paris, where he studied under Vien, whom he
accompanied to Rome, where 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, PiEREE, a designer and engraver, was
born at Chartres, in 1584, according to his inscrip-
tion on the oval border of his own portrait:
" PlEEKE SaBLON ChAETEAIN. XXIII ANS. 1607." On
the margin is inscribed :
" Me contemplant un jour en deux diuerses glaces
Je veis le mien Profll despainct naiuement ;
Lors je deliber6 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,
(Bartsoh, 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 F. Sdblon 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
inscribed " Franc. Rabelesius ; " in the exergue,
"Sum petulantis plene caching. Pers P.
Sablon /."
SACCHI, Andrea, sometimes called Ouchb, born
at Nettuno, near Rome, about the end of the 16tli
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
Laurj, Garzi, and Carlo Maratti. Additional
works :
Madrid. Gallery. SS. Paul the Hermit and
Anthony.
„ „ Portrait of Fr. Albani.
„ „ „ Himself.
F F 2
Petersburg. Hermitage. Angel consoling Hagar.
„ „ Triumph of Truth.
„ „ Eepose of Veuus.
Borne. Vatican. Mass of St. Gregory.
„ _ ,, Clement VIII.
„ S. Carlo a Catinari. Death of St. Anna.
„ S. Giuseppe. Angel appearing to Joseph.
„ Quirinal. 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 his best pictures,
a ' St. James raising a dead person,' in the Osser-
vanti, at Pavia, is painted much 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. He
died at Pavia in 1706.
SACCHI, Gaspaeo, of Imola, flourished in the
early part of the 16th century, and painted many
pictures in Ravenna and other parts of the Ro-
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 Saoconi,' may be
by him.
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, Piee-Feancesco, a native of Pavia,
worked chiefly at Genoa in the 16th century, and
was a member of the Guild of that city in 1520.
Very little is known of his life, and the date of his
birth is uncertain. His earliest existing painting
is, ' The Parting of St. John the Baptist from his
Parents,' painted in 1512 for the oratory of S.
Maria, Genoa. He frequently signed himself Petrus
Franoisciis Sachus de Papia. His chief extant
works are these :
Berlin. Gallery. The Crucifixion; signed and
dated 151 1.
Multedo, near Church. An arched panel of the Cruci-
Genoa. fixion, with thirteen figures.
1527.
Paris. Louvre. The Four Doctors of the
Church. 1518.
Mention of another Pier-Fbancesoo Pavesb oc-
casionally occurs as early as 1460.
SACCHIATI, PiETBO, a native of Ravenna, born
about 1598, is noticed by Basan as an engraver in
wood and chiaro-scuro after various masters.
435
Sacchiensis
A BIOGRAPHICAL DICTIONARY OP
Sadeler
SACCHIENSIS (or De Saoohio). See Licinio,
Giovanni Antonio.
SACCO, SciPiONB, (Saoohi,) a painter, and native
of Cesena, who flourished in the lOth century. He
painted a ' St. Gregory,' for the cathedral of Cesena,
wliich is inscribed Gcesenas, 1545 ; and a ' Death
of St. Peter Martyr ' for the church of 8. Domenico.
He is said by some to have been a pupil of Raphael.
SACRAMENTO, Jitan del Santisimo. See
Guzman.
SADELER, GiLLis, (.SIgidius,) 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 his own designs,
and many, particularly his portraits, are of great
excellence. Sadeler died at Prague in 1629. He
has been called 'The Phcenix of Engraving.' The
following are considered his best prints :
PLATES AETER HIS OWN WORKS.
The Emperor Matthias. 1616.
The Empress Anne, his consort. 1616.
The Emperor Ferdinand II. on horseback; in two
sheets. 1629.
Burckhard de Berlihing, Privy Counsellor to Eudolph II.
Christopher Guarinonius Fontanus, Physician to the
same.
John George Goedelman, Jurisconsult.
Joachim Huber, Aulic Ooiinsellor.
Jacob Chimarrhseus, Grand Almoner.
Cardinal de Dietrichstein, Bishop of Olmiitz. 1604.
John Matthew "Warenfels, Aulio Counsellor. 1614.
Adam, Baron de Trautmansdorf.
Siegfried de Kolonitsoh.
Ferdinand de Kolonitsch.
Torquato Tasso, Poetanim Princeps. 1617.
Ootavhis Strada, Antiquary.
Peter Brueghel, painter, of Brussels. 1606.
Martin de Vos, painter, of Antwerp.
Sigismond Bathori, Prince of Transylvania.
A set of twelve plates, representing Angels with the
Instruments of the Passion.
A set of fifty-two Views near Borne, entitled ' Testigi
delle Antichita di Koma.'
The Burning of Troy, an etching ; ^(/. Sadeler, fecit)
aqua forti.
Charity, represented by u female figure with three
children.
Narcissus admiring himself in a Fountain.
Pan 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 Crucifixion.
The Great Saloon at Prague ; in two sheets.
PLATES AFTER VARIOUS MASTERS.
The Emperor Rudolph II. on horseback, with a Battle
in the background ; after Ad. de Vries.
The Virgin and Child ; after Raphael.
The Angel appearing to the Shepherds ; after Bassano.
The Murder of the Innocents ; after Tintoretto.
436
The Last Supper ; after the same.
St. Peter called to the Apostleship ; after F. Baroceio.
The Entombment of Christ ; after the same.
The Scourging of Christ; after the Caiialiere d'Arjaino.
The Martyrdom of St. Sebastian ; after Palma Giovine.
The Bich Man and Lazarus ; after the same.
Angelica and Medora ; after Carlo Cagliari.
Hercules and Omphale ; ' a/ie)- B. Spranger.
The Marys at the Tomb of Christ ; after the same.
The Annunciation; after Peter de Witte {Candida).
The Virgin and Infant 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 Brueyhel, 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 Sadeler 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 stiifness and formality of thei 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 maimer which is discernible in
his earlier works. His plates are executed with
the 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 hst
is confined to the best :
PORTRAITS.
Clement VIII., Pont. Max.
Marie de' Medici.
Charles, Hereditary Prince of Sweden.
Otho Henry, Count Schwarzenbetg.
Sigismund Feyerabend, the famous printer. 1587.
George Hoefnagel, painter of Antwerp.
Martin Luther ; in an arabesque border.
SETS OF PRINTS.
Bight plates of the Creation of the "World ; after Crispin
Van den Broeck.
Six of the History of Adam and 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 ; after Christopher
Schwarz.
A set of prints called ' The Hermits ' ; engraved in
conjunction with his brothers ; 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 Theodore 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 ; after the same.
The Nativity ; after PoUdoro da Caravayyio.
The Virgin, with the Infant sleeping, and an Angel ;
after An. Carracci.
St. Jerome praying ; after Gillis Mosiaert.
Mary Magdalene in meditation ; after the same.
St. Boch, with two Pilgrims ; aftei' the same.
Jesus calling to Him the little Children ; after Jodocus
de Winyhe.
Sadeler
PAINTERS AND ENGRAVERS.
Saenredam
The Prodigal Son ; after the same.
The Aniiunciatioii ; after Peter de Witte (Candida).
Christ at table with the Disciples at Emmaiis ; after the
same.
The three Marys at the Sepulchre ; after the same.
The Last Supper ; a/Ster the same.
The Martyrdom of St. Ursula ; after the same.
The Nativity ; aftei' J', van Aachen.
The Holy Family, with Mary Magdalene ; after the same.
The Crucifixion ; after the same.
The Last Judgment ; after the same.
Mary Magdalene penitent ; after Federiyo Zustris.
Christ appearing to Magdalene ; after the same.
The Approach of the Deluge ; after Theodore BerTiard.
The Coming of the Last Day ; after the same.
The Trinity ; after Antonio Maria Viani.
Several Landscapes ; after Paul Brill, and others.
SADELER, Marcus, is supposed to have been
the son of Jan Sadeler, and to have been born at
Munich between 1589 and 1695 ; but great uncer-
tainty hangs about his paternity, and it is not clearly
known whether he was an engraver as well as a
publisher of prints. He resided many years at
"Venice, whitber, 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 liim ;
but only the second states have his address. Neither
Basan, Lipowsky, nor FiissH mention any of liis
works ; wliile the ' Passion series,' after Diirer,
which Heller ascribes to Marcus, are without sig-
natures or dates (the latter would runge from 1607
to 1613), although the second states liave Marcus
Sadeler's ad<)ress. They are all reversed from the
plates by Diirer.
SADELER, PniLirp, engraver, a native of
Munich, the son of Gillis Sadeler, flourished about
J626. He engraved portraits, landscapes, and
pictures nf 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
travelled together 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 prints
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 :
POBTEAITS.
Paul V. ; Pont. Max.
S. Carlo Borromeo.
Ernest, Ari;hbishop of Cologne.
Leopold of Austria, Bishop of Salzburg and Passau.
Ferdinand, Archdulte of Austria.
Charles Emanuel, Dulte of Savoy, on horseback.
John Dietmar, Abbot of Fnr.stenberg.
Hypolitus Gruarinonius, M. D.
SUBJECTS AFTER VARIOUS MASTERS.
A set of four plates from the Life of the Virgin ; from
his own designs.
Twenty-eight' plates from the Life and Passion of
Christ ; the same.
Mary Magdalene at the Sepulchre, with St. Peter and
St. John ; after J. de Winyhe.
Lot and his Daughters ; after ttie same.
The Holy Family, with St. Elizabeth and St. John ;
after Johann von Aachen.
The Entombment of Christ ; afte)- 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 Pieter de fp'itte. 1593.
The Immaculate Conception ; after the same.
The Presentation in the Temple ; after the same. 1591.
The Resurrection of Lazarus ; after Eottenhamer.
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 Palma.
The Virgin and Child; after An. Carracei.
The Holy Family, with St. John ; after Raphael.
The Annunciation ; after Federigo Zuccaro.
The Adoration of the Magi ; after Bassano. 1598.
Christ at Emmaiis; after the same; one of the three
Sadeler's Kitchens.
The Four Seasons ; after J. Stradanus.
A set of six Landscapes ; after P. Steevens.
Two Landscapes with figures ; after Matt. Brill.
The history of the Prodigal Son ; in four scenes after
Paul Brill.
A set of prints for Eader's Bavaria Sancta et Pia, en-
graved with the help of his son (1624-8).
Several Allegorical subjects ; after Martin de Vos.
The great Battle of Prague, in eight sheets ; considered
his masterpiece.
Venus and Adonis ; after Titian.
SADELER, Raphael, the younger, son and pupil
of tlie last-named, worked at Venice sujjsequent 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 prod uced
several plates on his own account, among them the
following:
The Annunciation ; after C. Schwarz.
The Virgin and St. Anne caressing the Infant Jesus ;
after the same.
The Holy Family, with his name and the date 1613.
Forest Scenery ; after J. Brueyhel.
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 1676.
SADLER, Thomas, portrait and miniature
painter, was the son of a Master in Chancery. He
practised in the reigns of Cliarles 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
1566, was by trade a basket-maker, and was in-
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.
Tiie Prosperity of the United Provinces under the
House of Orange ; an allegory. 1600 ; ditto.
The stranded Whale, on the coast of Holland. 1602 ;
ditto.
Caret van Mander ; after .Goltzius.
P. H. Homanus, Poet and Physician ; afUr Van
Mander.
John Ce.saree, Philosopher.
Jean de la Chambre, Writing-master.
437
Saenredam
A BIOGRAPHICAL DICTIONARY OF
Sailmaker
Adam and Eve in Paradise ; after H. Goltzius.
Lot and his Daughters ; afUr the same.
Judith with the Head of Holoferues ; after the same.
Susanna and the Elders ; after the same.
Ceres, Venus, and Bacchus ; after the same.
The Seven Planets, the Four Seasons, the Five Senses,
the Four Ages, the Three Marriages at different 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 Ah. Bloema^rt.
Four plates from the Histories of Elijah and Elisha ;
after the same.
Elijah and the "Widow of Sarepta ; after the same. 1604.
Annunciation to the Shepherds ; after the same. 1599.
The Prodigal Son ; after the same. 1618.
Vertumnus and Pomona ; after the same. 1605.
Mars and Venus ; after P. Isaacx.
Judith with the Head of Holoferues ; after L. van Leyden.
David with the Head of Goliah ; after the same.
The Nativity ; after C. van Mander.
Paul and Barnabas ; after the same.
Adam and Eve in Paradise ; after Corn, van Haarletn.
St. John preaching in the Wilderness ; after the same.
Angelica and Medora ; after the same.
Vertumnus and Pomona ; after the same.
The Grot of Pluto; inscribed Lv,x venit in mundum,
&c. ; after the same.
The Death of Bpamiuondas ; after P. da Caravaggio.
Camillus breaking the Treaty of Peace between the
Romans and the Gauls ; after the same.
The History of Niobe and her Children ; in eight sheets,
forming a frieze ; after the same. 1594.
The Entombment of Christ; after M.A. da Garavarjijio.
Clirist in the House of Levi ; after P. Veronese.
SAENREDAM, Pieter, son of Joannes Saenre-
dam, was born at Assendelft in 1597. He was a
scholar of Pranz Pieterzen de Grebber,but adopted
a different style from that of liis 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 hinj, was
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 ICth August, 1665. 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 Sam-
redain, dese geschildert int jaer
1649 den 2 October. The
figures are by Ad. v. Ostade.
Berlin. Museum. Church Interior.
Haarlem. Museum. Interior of St. Anne's Church,
Haarlem.
JRotterdam. Museum. Maria-kerk, Utrecht.
SAEY, , a Flemish painter, native of Ant-
werp, praotising in the 17th century. He painted
chiefly architectural subjects, and worked jointly
with Jerome Janssen, who frequently added figures
to bis 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 1660.
SAFPT, 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.
438
SAFTLEVBN, Cornelis, (Zachtlbven, Saftle-
BEN,) painter and engraver, was born at Rotterdam
in 1606. Though he did not equal his brother
Herman in talent, he showed considerable skill
in genre pictures, in the style of Teniers and Brou-
wer. Several of his etchings were published. His
portrait was painted by Vandyke, and engraved by
Vosterman. He died in 1682. In the Dresden
Gallery are four examples of bis work, and in the
Amsterdam Museum, three.
SAFTLEVEN, Herman, (Zachtlbven, &c.,)
painter and engraver, born at Rotterdam in 1609.
He was the younger brother of Cornelis Saftleven,
and a pupil of Jan van Go3'en. His views of the
Rhine and Maas are delicately painted from nature,
and crowded with figures. He died at Utrecht
Jan. 6, 1685. His art, though conventional, is de-
lightful in its way, and his pictures are now in
great request.
Amsterdam. Museum. Kiver View.
„ „ View on the Bhine.
„ „ Village on a Eiver,
„ „ Hilly Landscape.
„ „ River Scene.
Copenhagen. Gallery. "Wharf on the Rhine.
„ „ Vintage on the Rhine.
„ „ Inn among Rocks.
„ „ Vista through a Timber Bridge.
„ „ View of Utrecht.
„ „ Meadow-land at Harvest-time.
Dresden. Gallery. A series of eighteen pictures,
including Views of Utrecht,
Eugers, Bhrenbreitsteln, and
Cologne.
Haarlem. Museum. Jan Van Oldenhamevelt and
his Judges, the latter under
the shapes of animals.
London. Dulwich Gall. View on the Rhine. (A viasler-
pieee.)
Munich. Pinahothek. A View of the Rhine.
„ „ Two Rhenish landscapes.
„ „ One Dutch landscape.
Rotterdam. Museum. View on the Rhine.
Stockholm. Gallery. Large Rhine Landscape.
SAFVENBOM, Johann, a Swedish painter, born
in 1721. He 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 1784.
SAGRESTANI, Giovanni Camillo, a Florentine
painter and poet, born in 1660, studied painting in
the school of Giusti, and also attended that of
Carlo Cignani, whose manner he copied rather than
emulated. He died in 1731.
SAHLER, Louis, (Saii,lar,) 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 ; afta- Reynolds.
The Toper ; after G. I)ou.
George, Prince of Wales ; after John Smart.
The Virgin and Child ; after Domeiiichino.
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 PiRB, an Augustine monk of
the 16th century, much esteemed for the excellence
of his miniatures. He died at Avignon.
SAILMAKKR, Isaao, an English painter of
marine subjects, born in England in 1633, was a
pupil of George Geldorp, and was appointed by
Cromwell to paint a view of the fleet before Mav-
Saint AndrS
PAINTEBS AND ENGBAVER8
Salter
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, dying in 1721.
SAINT ANDR6, Simon Renard db, a portrait
painter, born 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 Gambrai in 1715. He was educated in
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
father'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-Lodis Saint-
AuBERT, son of Louis Joseph Nicolas, there is a
'Norman Coast Scene,' in the same collection. He
was born in 1794, jnd 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 Germain 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 petils
bouquets,' and ' Les Fleurettes.'
SAINT-A UBIN, Gabriel Jacques db, brother of
the last-nained, 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-MlCHBL, 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-AULAIRE, FiiiLix Achille, painter, a
native of Piedmont, born 1801. He studied under
tlie 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-:feVE, Jean-Marib, engraver, born at
Lyons on the 9th June, 1810. He studied first at
Lyons under V. Vibert, and subsequently in Paris
under Richomme, and at tlie Ecole des Beaiix Arts.
In 1840 he gained the ' Prix de Rome,' and in 1848
a medal of the first class. He engraved some im-
portant plates, and died at Montmartre, September
4th, 1856. Among his best plates are :
Portrait of Andrea del Sarto ; after that nmstert
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-:feVRE, GiLLOT, painter, born at Banlt-
siir-Snippe, Marne. He was for a time an oBBcer
of artillery, but gave up military life to devote
himself to art. He was a frequent exhibitor at the
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.
SAINT-JEAN, Simon, flower-painter, was born
at Lyons in 1808, and educated there under Fran9ois
Lepage. He took Van Huysum as his model, and
rivalled his truth to nature. He died at Ecully-
Lyon, in 1860. Examples of his art are to be
found in the Museums of Rouen and Lyons.
SAINT-NGN, Abb^ de, Jean-Claude-Richard,
di'aughtsman 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 Royauraes de
Naples et de Sicile,' with many plates, and also pub-
lislied 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. Ho 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 he 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 the
subject of the ' Concordat.' His works are chiefly
to be found at Geneva. He died at Schafihausen
in 1809.
SAINT QDENTIN, 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 '.lephthah's Sacrifice' (now in the
Tours Museum). He died in Paris, March 20,
1716.
SAITER, Daniel, (Seitek, Seuteh, 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
Venice 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 ba
found at Brunswick, Dresden, and in the Turin
Gallery. He died at Turin in 1705.
SAITER, Johann Gotfhied, (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 Kupetzky, Painter.
George Philip Eugendas, Battle Painter.
Abraham sending away Hagar ; after Celesti.
A Holy Family ; after Andrea del Sarto.
Christ with Martha and Mary ; after L. da T'inci.
The Adulteress before Christ ; yter Frocaccini.
The Marriage at Cana; after P. Veronese.
The Flight into Egypt ; after Alhano.
439
Sala
A BIOGRAPHICAL DICTIONARY OF
Salmeggia
SALA, VlTALE, 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
t Vigevano, Novara, Bosisio, Desio, and in those of
St. Stefano, St. Lazzaro, and St. Catharine, in Milan.
He died at Milan in 1835.
SALAI, Andeea, (Salaino, Salario,) born at
Milan about 1480, was the pupil and favourite
companion of Leonardo da Vinci, with whom he
went to Rome, and painted many pictures which
were retouched by the master. His name contin-
ually occurs in Leonardo's memoranda, and he
seems to have acted generally as the great painter's
humble friend and factotum. Unfortunately none
of the pictures assigned to him in various collections
can be authentically traced to his hand. Proba-
bility, however, seems to point to his authorship of
certain Leonardesque pictures in which greenish
and rosy tones are combined in a peculiar and not
unpleasant fashion ; a good example is in England,
in the possession of the Rev. W. H. Wayne, and
another in the Brera, Milan. Salai has often been
confused with Andrea Solario, a totally diSerent
person.
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 Antonius Salamanca Quod
Potuit Imitatus Exsculpsit, 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 Bimdinelli, 1546, and
the ' Creation of Animals,' after Raphael, 1548. All
the other prints with his name have excudebat, or
excudit, instead of exsculpsit.
SALAMANCA, Gehonimo db, a painter of the
16tli century, practising at Seville.
SALAZAR, Juan de, a skilful illuminator of the
16th century. He is chiefly known by his work
for the choir-books of the Escurial, and for the
mass-books of Toledo. His drawing was remark-
able for its delicacy and precision, and his colour
for its brilliance. He died at Toledo in 1604.
SALERNO, Andrea da. See Sabattini.
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.
SALIMBENE, Arcangiolo, (Angelo Salim-
• BENi,) a native of Siena, who flourished in the latter
half of the 16th century. He was a pupil of
Zuccaro. Works :
Lusignano. Parish Church. The Crucifixion.
Sieua. Somemcani. St. Peter Martyr.
SALIMBENE, Cavaliers Ventdea, (Salimbeni,)
called also Bevilacqua, after his patron Cardinal
Bonifazio Bevilacqua of Ferrara, the son of Arcan-
giolo Salirabene, was born at Siena in 1557. After
being instructed in the rudiments by his father,
he went to Rome in the pontificate of Sixtus V., by
whom he was employed in the library of the Vatican,
and in the palace of the Lateran. He afterwards
visited Florence, where, in competition with Ber-
nardino Barbatelli, called II Poocetti, he painted
several pictures of the life of the Virgin in the
cloister de Servi. Salimbene lived in habits of
intimacy with Agostino Tassi, who frequently
painted landscape back-grounds to his pictures.
He died at Siena in 1613. Works :
440
Foligao. Cathedra!. Marriage of the Virgin.
Perugia. S. Fietro. St. Gregory.
Eome. Jesuits' Church. Baptism of Christ.
„ „ Abraham and the Angels,
„ S. Simeoni Lancellotti. The Circumcision.
„ S. Maria Maggiore. The Annunciation.
Salimbene has left a few etchings.
SALINCORNO, Mieabello, called also Cavalobi,
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, bom at
Rome in 1570 or 1576, 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 afterwards 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.
SALLAERT, Antonie, (Salaert, or Sallaeets,)
was born at Brussels about the j'ear 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.
Salaert enjoyed the friendship of Rubens, whose
pupil he is ahserted, but without evidence, to have
been. He was Dean of the Painters' Guild in 163.3-4,
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
^^. [aJI . Sometimes with the border, some-
times without. BruUiot denies that he engraved
on wood ; but a set of the Four Evangelists and
an ' Ecce Homo ' bear his mark.
SALLIETH, Mathias de, was bom 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 Vander Capelle. He died at Rotterdam in
1791.
SALM, A. van, a Dntch 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.
SALMEGGIA, Enea, (Salmasio,) called II
Talpino, painter, was born at Bergamo about the
Salmeron,
PAINTERS AND ENGRAVEKS.
Salvador
year 1556. He received his first teaching at Cre-
mona, under the Campi, but afterwards became a
scholar of Procacoini, at Milan. He also passed
fourteen years at Rome, 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, Ceistobal 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, Francisco, 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 Madi'id in
1632.
SALMIER JossE, a Flemish painter, probably a
native of Mechlin, 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 Leoourt, and entered
the Ecole des Beaux Arts in 1819. He was an
occasional exhibitor at the Salon, and at the
Luxembourg, but was better known iis a restorer
of pictures. He last appeared at the Salon in 1848.
SALMON, Jacques Pierre Franqois, 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 "Bcole Centrale" of the
department of Loiret, and aflerwards 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
lithographed. He died at Orleans on the 10th
March, 1855. The Mus^e of that city possesses
examples of his work.
SALOMON, Bernard, an engraver, called also
'Le petit Bernard,' Bernard us Gall us, 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
16th 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 pi-actised the same art as
his father, and was called Giovanni Gallo, Johannes
Gallus, &c.
SALT, Henry, a draughtsman, was born 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, Luoa, (Sartarelli,) was born
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 young.
Works :
Genoa. San Stefano. The Miracle of St. Benedict.
„ S. Andrea. Martyrdom of St. Audrew.
Lisboii. The Trinity.
SALTER, William, historical and portrait
painter, was born at Honitou in 1804, went to'
London in 1822, and became a pupil of Northcote.
He then went to Florence, where he painted a
picture of 'Socrates before the Areopagus,' and
thence to Rome and Parma, at which latter city his
studies from Correggio became famous. In 1833 he
returned to England, where he painted a picture of
the 'Waterloo Banquet.' He was also employed
in painting scenes from Shakespeare, 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 db, an Augustine friar of Seville,
who took the vows in 1576, 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 he died in 1818.
SALVADOR oiP Valencia, a Spanish painter
of the Iftth century, who worked with Benozzo
Gozzoli at Rome, and was patronized by Calixtus
III., about 1450.
SALVADOR CARMONA, Manoel, was aii 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
Solimena.
Bacchus crowning his Votaries ; after Velazquez.
A Madonna seated on Clouds ; after Murillo. 1802.
A Mnudouna,; after Van Dyck. 1757.
The Kesurrection ; after Van Zoo. 1757.
St. John the Baptist ; after Raphael Menys. 1784.
The Magdalene ; after the same.
St. Ferdinand praying ; after Murillo. 1791.
Angels appearing to Mary Magdalene ; after Guercino.
Portrait of Francois Boucher; after Eoslin Svedois.
Portrait of Collin de Vermont ; after the same.
Portrait of Cliarles III. ; after Raphael Menys. 1783.
Portrait of Don Alfonso P. de Guzman ; after VanDyck.
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
441
Salvador
A BIOGRAPHICAL DICTIONARY OF
Sambach
a series of pictures from the life of St. Ignatius
Loyola, which gained him enoiish reputation to
keep him fully employed in the Valeiitian churches
and convents for the rest of his life. He was a
skilful painter of birds and animals, also of arclii-
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 church 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 tlie 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 Borgofia in Toledo with daubs of his own.
He furnished illustrations, engraved by Salvador
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 the 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 the pupil of Antonello.
SALVESTRINI, Bartolommeo, 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.
SAL VI, Giovanni Batista, called II Sassoiter-
EATO, was born at the castle of Sassoferrato, near
Urbino, on June 11, 1605. He was the son of Tar-
quinio Salvi, who instructed him in the rudiments
of design, and when he was very young sent him
to Rome, where he passed some years. He after-
wards visited Naples, where he is supposed to have
studied under Doraenichino. But Sassoferrato did
not confine himself to any particular master, but
modelled his work on the styles of Guido, Albano,
Baroccio, and Raphael. His pictures are mostly
Madonnas, and he seldom ventured on more am-
bitious subjects. His most considerable works are
a small altar-piece in the church of S. Sabina, at
Eome, representing the ' Madonna del Rosario, with
St. Catherine and St. Dominic,' and a ' Crucifixion,'
in the church at North Craj', Kent. He died at
Rome in 1685. Additional worliis :
Dresden.
Florence.
Hampton
London.
Madrid.
Milan.
))
Munich.
Naples.
Paris.
Gallery.
»
Uffizi.
Court. Palace.
Nat. Gallery.
)»
Museum.
JBrera.
)j
Pinakothek.
Museum.
Louvre.
Rome. Vatican 3fuseuin.
„ Pal. L'orijhese.
Venice. Academy.
442
Sleep of the Child Jesus.
Virgin in Prayer.
Virgin and sleeping Child,
His own Portrait.
The Magdalene.
Virgin and Child.
Madonna in Prayer.
Virgin in contemplation.
Virgin, and Child asleep.
Virgin and Child.
The Immaculate Conception.
Virgin in Prayer.
Madonna and St. Joseph.
Adoration of the Shepherds.
Sleep of the Child Jesus.
The Assumption.
Two ' Madonnas.'
Virgin and Child.
The Life of Mary.
St. Cecilia.
SALVI, Tarquinio, a Roman painter of the 16tb
century, of whom little is known. He was a native
of Sassoferrato, and the father and first teacher of
Giambattista Salvi, called Sassoferrato. His only
recorded work is a large ' Rosario,' in the Bremitani
at Rome. It is signed and dated 1553.
SALVIATI, Francesco. See Dei Rossi, Fran-
cesco.
SALVI ATI, Giuseppe. See Porta.
SALVIATINO. See Rossi, Francesco.
SALVIONI, Ro.sALBA Maria, painter, was born
at Rorne 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 tlie Minorites at
Frascati there is a ' St. Catharine ' by lier.
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 inezzotinter, who
flourished about the year 1760. He engraved some
portraits, which are not without merit.
SALV, 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.
SALZER, Friedrich, landscape painter, bom 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, Engel, (or Angelo,) born at Rotterdam in
1699, was a good portrait painter, but excelled
chiefly in genre. He imitated the manner of Van
der WerfE, 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 Pellegrino Tibaldi. He afterwards
studied the 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.
Samaochini died at Bologna in 1577. Works :
Bologna. SS. Narhorre e Felice.
„ S. Giacomo Macfijiore.
„ Certosa.
„ La Triii'td.
„ Pal, Lavihertini.
Cremona. S. Abbondio.
Coronation of the Virgin.
Puriflcatiou of the Virgin.
Last Supper.
Crucifixion.
The Fall of Icarus.
Frescoes on the vault.
SAMANIEGO, Mariana. See Sii.va Bazan.
SAMBACH, Franz Kaspar, painter, was born
at Breslau in 1715, received his instruction in art
from Eeinert and de I'Bpte, and at Vienna under
Donner. In 1762 he became Professor of Architec-
ture ; and in 1772 Director of Painting in the same
Sameling
PAINTERS AND ENGRAVERS.
Saucliez-Cotan
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
Eranciscan 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, Ambbogio, 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 BRnEGBL, Jan.
SAMMIGHBLI. See San Micheli.
SAMSON, Jean, a French historical painter of
the ,16th century, who, in 1553, was engaged in
work for the chateau of Versailles.
SAMUEL, Geokge, 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.
SAMQEL, 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.
Montague, [Angelica KaufEman, etc. In 1773 ho
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 tlie
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 Vecohio di. See Min-
ZOCCHI.
SANCHEZ, Alonso, one of three artists employed
to paint frescoes at the university de Alcala de
Henares, by command of Cardinal Cisn^ros, 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.
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, Clemente, 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 1515. From his style
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
flight 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 tjrbina, the triumphal arch erected at
Madrid for the entry of Anne of Austria, the wife
of Pliilip II. In 1573 he entered into an engage-
ment to decorate with 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 en ployed
him in 1682 in filling the Esourial with pictures.
For this palace-monastery he painted 'St. Paul,
the first hermit, 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 scenerj' about it. About this
time he painted the portrait of his friend, Father
Siguenza, which is considered a chef-cT oewore, and
has been finely engraved by Fe.dinand Selma ; 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 :
London. Nat. For. Gal. Full-length portraitofPhilipII.
Madrid. Museum, Portrait of Don Carlos.
„ „ Eugenia and several other
Infantas,
„ „ The Marriage of St. Catharine.
Vienna. Belvedere. A Spanish Lady.
SANCHEZ-COELLO, Isabella, who was born 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 1612.
SANCHEZ-COTAN, Fray Jdan, an eminent
Spanish painter of Madonnas, flowers, and still-
life, was born at Alcazar de San Juan in 1561 ; he
was the son of Bartolom^ Sanchez-Cotan, and Ana
de Quinones. He studied at Toledo under Bias de
Prado, whose style he imitated, and under him
made great progress in art. At first he painted
hodegones, 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
443
Sancliez-B'Avila
A BIOGRAPHICAL DICTIONARY OF
Sande-Backhuizen
crowned with cliaplets of flowers ; all these he
devoted to the decoration of his convent, or
bestowed on his brethren for their private oratories.
From Paular Sanohez-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 Berraudez
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 born
at Toledo. He went to Paris in his youth, and
afterwards established himself as a portrait painter
at Vienna. He died in 1762.
SANCHEZ DB CASTRO, Joan, of Seville, founder
of the school of Andalusia, was born in the first
half of the 16th 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 1776, little but the signature
being left of the work.
SANCHEZ, Luis, is known only as having de-
signed in 1611 the title-page of a book called ' De la
Veneracion que se debe a las reliquias de los santos,'
engraved by Pedro Perret, and published in Madrid.
SANCHEZ, Manuel, a priest of Murcia, who
was practising as a painter in 1731.
SANCHEZ, PEDE0,'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 Academj'. Sanchez Sarabia
died in 1779.
SANCHO, EST^BAN, a Spanish painter, known
as Maneta, from his having lost his right hand.
He was a native of Majorca, and a pupil of Pedro
Ferrer, and painted many pictures for the 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,' vol. ii. p. 188.)
' SANDARS, Thomas, engraver, son of a painter
of Rotterdam, went to London, and became a
member of the St. Martin's Lane Academy. He
etched the ' Italian Fisherman,' after Vernet, and
drew and engraved fifteen views of market towns
in Worcestershire. He exhibited at the Academy
down to 1775.
SANDBERG, Johann Gdstaf, a Swedish
painter born in 1782. In the Stockholm Gallery
there are three pictures by him — a ' Giistavus
Adolphus II. at the battle of Stuhm,' and two single
figure pictures. He died in 1854.
444
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 email etchings, which were
published by Messrs. Eyland and Bryce. Soon
after his return from his northern tour, about the
year 1762, 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
miisters," 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, perhaps, 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. (Smith Kensington Museum^
Llandaff Cathedral. (Do.)
The Round Temple. (Do.)
Landscape, with Dray and Figures. (X>o.)
Chepstow Castle. (Do.)
"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 born at Nottingham in
1721, and was, like his brother, first employed as a
military draughtsman. In this capacity he 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
in the Sloane Museum. He died at the Ranger's
House at Windsor, on the 26th June, 1798.
SANDE-BACKHUIZEN. See Backhuizen,
Hendrik.
Sander
PAINTERS AND ENGRAVERS.
Sandrart
SANDER, JoHANN Heinrich, painter, born 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, Cathaeina, called Van Hemessen, or
Hbemsen, 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. Catliarina painted portraits of
small size, A fine example of tnese 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. Lesoart, lawyer at Mons, a
'Virgin and Child,' with a background of snowy
landscape, painted on panel, and signed, Caterina
de Heminsen pingehat. The dates of her birth and
death are unknown.
SANDERS, (or Sandres,) Fbans, 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
Kinghorn, in Fifeshire, 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 Hemessen, 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
was known until the researches of recent writers
threw some light upon their history. It-is now
established that Jan Sanders was a pupil of Hendrik
van Cleef, the elder, in 1519, at Antwerp, and that
in 1535 — 1537 he had himself set up an atelier
for pupils in that city. In 1547 — 1548 he was
Dean of the Society of Saint Luke. By his wife,
Barbe de Ffevre, 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 1666, speaks
of him amongst deceased artists. The following
works by him are known :
Antwerp. Museum. The Calling of St. Matthew.
Municli. Pinakothek. A Holy Family. 1541.
„ „ Isaac blessing Jacob.
„ „ The Calling of St. Matthew.
Paris, Louvre, Tobias curing bis Father's
Blindness. {Dated 1555.)
Vienna, Gallery. The Calling of St, Matthew.
(Three versions.)
„ „ St. William,
„ „ St, Jerome,
SANDERS, John, painter and engraver, was
born in London in 1760, His works show the
influence of Bartolozzi, In 1802 he went to St,
Petersburg as engraver to the Emperor, and made
sketches of the pictures in the Hermitage. These
were published in 1805. His ' May Day,' and 'Sir
John Falstaff,' were engraved respectively by
Delatre and P. W. Tomkins.
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.
SANDERS, John, probably the son of the last-
named John Sanders, exhibited at the Academy
from 1775 till 1820.
SANDHAAS, Karl, painter, born at Haslach, in
Baden, in 1801. After some preliminary study at
Carlsruhe, 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 Schaume des Lebens.'
SANDORS, Thomas, Dutch engraver, who settled
in Lpndon soon after the middle of the 18th century.
Joining the St. Martin's Lane Academy, he ex-
hibited there till 1776. 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 Danokerts 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 Norway,
Sophia, Electoral Princess of Saxony.
Ferdinand Maria, Duke of Bavaria.
Joachim Sandrart ; inscribed Seculi nostri Apelles.
Joannes Paulus Auer, Painter.
Nagler has given a full list 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. Itis said that when Honthorst
was invited to England by Charles T,, he engaged
Sandrart to accompany him, that the king bespoke
445
Saudrart
A BIOGRAPHICAL DICTIONARY OF
San Giorgio
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. Prom
Venice he went to Rome, where he resided some
j'ears, and was much employed by the Cardinal
Barberiiii and the Prince Giustiniani, and was
intrusted by the latter with the superintendence of
the engravings from statues in his gallery. From
Rome 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, ' Academia Tedesca della Architettura,
Scultura, e Pittura ; ' &c., 4 vols, in 2, folio, Niirn-
berg, 1675-79 ; ' Iconologia Deorum, 1680 ; ' ' Ad-
miranda Sculpturas Veteris Vestigia, 1680 ; ' ' Romse
antique et novas Theatrum, 1684;' and 'Academia
Artis Pictorise, 168.B,' collected from Vasari, BidoUi,
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 Nii'rnberg, 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.
■yVurzhurg. Cathedral. Descent from the Cross.
SANDRART, Johann Jakob von, the son of
Jakob von Sandrart, was born 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 some 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 ' Suecia 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 Dunkelmanu ; after the same.
The Holy Family ; after Joachim von Sandrart.
The Origin of Paintmg ; two plates, after the same.
The Customs of the ancient Germans ; two plates, after
the same.
iEneas saving Anchises ; from his own design,
SANDRART, Loeenz 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 Bngel-
brecht, published in 1700. It is also believed that
he was a painter in enamel, and was still living in
1710.
SANDRART, Susanna Mama 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.
446
She died at Nuremberg in 1716. We have the fol-
lowing independent prints by her :
The Feast of the Gods ; after Raphael.
The Nozze AldobraQdini ; after a design hy Bartoli.
A Bacchanalian subject ; inscribed Jmmoderatum dulce
Amorum.
SANDRINO, ToMMASO, born 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. Paus-
tino, S. Domenioo, 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, Fbans van, painter, bom 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, Edwyn, is mentioned by Strutt as the
engraver of a portrait of Sir William Petty.
SANE, 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 Beautifnl Gate of the
Temple,' is in the church of St. Peter at Douai.
SANESE, Maestko Riocio. See Neroni.
SAN-FELICE, Ferdinando, born 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 alfar-pieoes 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 PRIANO, 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
fiijades of houses. See Milanesi's ' Vasari,' vol. vi.
pp. 433-456. He died in 1551.
SAN GIMIGNANO, Sebastiano da. See Mai-
nakdi.
S AN Q I MIGNANO, Vicenzio da. See Tamaqni.
SAN GIORGIO, EusBBio Dt, 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. LermoliefE ascribes the Standard
preserved at Cittk di Castello as an early Raphael
to Eusebio di San Giorgio. He died in 1550.
San Giovanni
PAINTERS AND ENGRAVERS.
Santa Croce
SAN GIOVANNI, Cavaliere Ercole, called
Ebcolino di Guido. Tliis painter was a native of
Bologna, and a favourite of Guido Eeni. 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, Eroole
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, Gerabdo da. See Haarlem.
SAN GIOVANNI, Giovanni da, called Manozzi,
born at San Giovanni in 1690, 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 chiaroscuro
followed Garavaggio and Spagnoletto. He died in
1636. His best works are —
*''««<"«■ 1&I/} Temptation of Christ.
Florence. Pitti Palace. Scenes from the Life of St.
Lawrence.
„ „ A Hunting Party.
„ The A cademy. A Flight to Egypt.
„ Oynissanii. In the Cloister ; five scenes
from the life of S. Francesco.
Kome. Quattro Coronati, Frescoes in Semi-dome.
„ S, Maria del Popolo. Frescoes.
SAN GIOVANNI, Maso da. See GniDi, Tommaso.
SANGSTER, Samuel, an engraver, born in 1804,
was a pupil of Finden. He engraved for the
annuals and for the 'Art Journal.' His best plates
are — ' Neapolitan Peasants on their way to a Pesta,'
after Uwins ; 'The Gentle Student' and 'The For-
saken,' 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.
SAN MARTINO, Marco, (or Sammaechi,) 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, where 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 of 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. Bartsoh (P. gr. tom. xxi.) has described
33 prints by him, many o£ which have his name in
full, Marco San Martina.
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.
SANO, 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. S.ino
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
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 — ■
Paris. Louvre. Five Scenes from the Life of St.
Jerome.
Rome. Vatican Museum. Scenes from the Life of the
Virgin. A Predtlla.
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. Nothing further is known of him.
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, (wliich still remain, though much
defaced by time,) representing scenes from the life
of St. John the Baptist, and the Crucifixion. The
latter is inscribed, "M.C.C.C.C.X.V.L die xvii.
Julii. Laurentius. de. Santo. Severino. et. Jacobus,
frater. ejus. hoc. opus, fecerunt."
SAN SEVERINO, 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 Laurentius II Severinasptsit.
SANSON E, II. See Marchesi, Giuseppe.
SANTA CROCE, Francesco di Simone da, some-
times called Eizo, was born 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 Locchis 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 1620 (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
447
Santafede
A BIOGRAPHICAL DICTIONARY OF
Santi
' Christ in Benediction,' and a small picture of the
' Martyrdom of St. Lawrence.' Other works by
this Santa Croce are :
Berlin. Museum. The Epiphany.
„ „ Christ carrying His Cross.
„ „ The Crucilixiou.
„ „ Martyrdom of St. Sebastian.
Dresden. Gallery. The Nativity.
„ „ The Martyrdom of S. Lawrence.
Loudon. Nat. Gallery. Two figures of Saiuts.
Venice. Manfrini Pal. Adoration of the Magi.
SANTAFEDE, Fabeizio, 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 Nunoiata 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, Fbancesco, born about 1519, was
a Neapolitan, and a scholar of Andrea Sabbatini,
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, Giaointo and Agostino, the
sons 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 independently 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
Procaccini, 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 Risoatti Soalzi, 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 Francois 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
his pictures for ten years. His works are few.
448
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-
CINO,) 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 Domenioo 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 Forli and Pietro
della Francesca. His earliest known works are the
frescoes in the church of S. Domenico, at Cagh,
representing the Resurrection and a Madonna En-
throned among four Saints. lu 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 Bernardina,
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-
afEected, 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 Duoa Federigo d'Urbino.' He
died at Urbino in 1494. Additional works :
Berlin. Gallery. Two altar-pieces.
London. Nai. Gallery. Madonna and Child (?).
Milan. Srera. An Annunciation.
Kome. Laferan. An enthroned St. Jerome.
Urbino. Brotherhood oft ■., , , - di ci i. j.-
8. Sebastian. \ Martyrdom of St. Sebastian.
„ Gallery. Madonna with four Saints.
Santi
PAINTERS AND ENGRAVERS.
Santo Kinaldi
SANTI, PlETEO, commonly called Pietro Bar-
TOLi, and sometimes II Pbrugino, 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. Poussin, 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 phites. 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. Romce. The number
of his prints is very considerable ; the following list
comprises the best :
^diniranda liomanorum Antiquitatum ac veteris Sculp-
ture Vestigia; eighty-one plates.
Moinance Tiuiynitudlnis Monunienta; one hundred and
thirty-eight plates.
Veteres arcus Auyuistorum tnumphis insiynes ; fifty-two
plates.
Colonna di Marco Aurelio, ^c, the Antouine Column ;
seventy-eight plates.
Colonna Trqjana, di Alfonso Ciacconi ; one hundred and
twenty-eight plates.
Sepoleri antichi Eomani ed Etruschi trovati in Roma;
one hundred and twenty-three plates.
The Nozze Aldobrandini ; two sheets.
Le Piiture antiche delle yrotte 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.
Antiquissimi Viryiliani Codicis fraymenta et picture, ex
Bibl, Vaticana ; fifty-five plates.
Scenes from the Life of St. Peter ; after Lanfranco.
Subjects from ' Kaphael's Bible ' ; forty-two plates.
Grottesques; after Raphael; inscribed Parerya atque
ornamenta in Vatican^, ^c. ; forty-three plates.
Jupiter hurling thunderbolts at the Giants ; after Giulio
Momaiw,
The Birth of the Virgin ; after Allani.
The Virgin and Child in the Clouds ; aftei- L. Carracci.
Coriolanus and his Family ; after An. Carracci.
S. Carlo Borromeo led by an Angel ; aftei- the same.
Daniel in the Lions' Den ; aftei^ Fieti-o da Cortona.
St. John preaching ; after P. F. Mola.
The Adoration of the Magi; after Raphael; in three
sheets.
Jupiter nursed by Amalthea ; after Giulio Romano.
Hylas carried off by Nymphs; after the same.
Sophonisba before Masinissa ; aftei' the same.
The Continence of Scipio ; after the same.
St. Stephen ; fro7n his own desiyn.
St. Bernard enchaining the Devil ; do.
Theatre erected in St. Peter's for a Canonization ; do.
The sepulchral Monument of Pope Urban VIII ; 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, Francisco Xavier
DE, horn at Toledo in 1728, was a learned writer,
an ingenious embla/ioner 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 position 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
VOL. II. G a
the pen. He painted in oil 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, Joan de, a skilful glass painti r
of Burgos, practising towards the close of the 16th
century. Jointly with Juan de Vuldivieso 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. Tliey 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
Arezzo.
SANTINO de' RITRATTI. See Vandi, Sante.
SANTIS, Orazio di, an engraser, probably a
rrative of Aquila, flourished from 1568 to 1577,
according to the dates on his prints, which are
chiefly after the designs of Pompeo Aqnilano.
Bartsoh has described seventeen prints by Santis,
and supposes that 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 1684.
SANTISIMO SACRAMENTO, Fray Juan del,
See Gdzman, Juan de.
SANTO-DOMINGO, Fray 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-Domirgo, but it is now ascertained that
they were painted in 1669 by Navarrete, when, for
the benefit of his health, he had permission from
Philip II. to reside at Logrono. 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, (Sordo,) 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 life little is
known, but his existence can be traced as late as
1546.
SANTO PERANDA, was born at Venice in 1566.
According to Ridolfi, he was first a scholar of
Palraa Giovine, and afterwards of Leonardo Corona,
of Murano. He executed several considerable works
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 EINALDI, called II Tromba, a painter
of battles, landscapes, and architecture, born at
449
Saatos Cruz
A BIOGRAPHICAL DICTIONARY OP
Sanzio
Florence about 1620, was a pupil of Furini. Though
eminent in hia day, little is known of his history;
he is supposed to have died in 1676.
SANTOS CRUZ, a Spanish painter, who worlfed
on the high altar of Avila cathedral, with Pedro
Bernigtiete,from 1475 to 1499.
SANTOS, Jdan, a fresco painter, flourished at
Cadiz in 1662. He was much employed in paint-
ing standards for the Spanish navy. 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 ZA60, or ZASO. See Zago.
SANTVOOHT, Dirk van, supposed to be the
son 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 hiin 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.
FiiSBli mentions a certain S. van Santvoort as
practising in Holland in the 18th century.
SANTVOORT, Pibtee, a painter of Haarlem.
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, GinLio, an Italian
engraver, was born 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 Maphael; with the
engraver's mark.
The monstrous Child, signed Jul. iSannutus 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 print ; no name of engraver.
Dance of Bacchanals in a wood; signed JxTLroa San-
NCTUS. F.
Apollo and Marsyas, after Correggio, with the Parnassus,
aft&i^ Bapliael, in three sheets.
SAN VITO. See Amalteo, Pomponio.
SANZIO, Raffaello, commonly called Raphael,
was the second son and third child of Giovanni
Santi and his wife Magia Ciarla. His name of
Sanzio is Italianized from Sanctius, which, in its
turn, was Latinized from the patronymic, Santi.
He was born at Urbino in 1483. There has been
much fruitless discussion as to the exact "day of
his birth. His death in 1520 took place on Good
Friday, which was March 26th or 28th ; and Vasari
says the same fast saw his birth, ' at three o'clock in
the night.' In the epitaph written for his tomb,
however, by Cardinal Bembo, it is distinctly declared
that he lived exactly thirty-seven years, and died
on his birthday (vix. annos xxxvii . . integros,
quo die natus est eo esse desiit). As Good Friday
in 1483 fell on the 6th of April, either Bembo or
Vasari must have been mistaken. No conclusive
evidence has yet come to light on the poiut, and
Raphael's biographers take sides according to their
notions of probability. When Raphael was eight
years and six months old his mother, Magia, died,
and six months later Giovanni Santi married one
Bernardina Parte. In 1494 Giovanni died, leaving
450
Raphael heir to an estate under the guardianship
of his uncle, Bartolommeo Santi. Raphael's first
master was his father. Over his second rages a
standing controversy. On the one hand the party
led by the Commendatore Giovanni Morelli believes
that between the death of Santi and Raphael's,
introduction to Perugino, several years intervened,
during which he was taught by Timoteo Viti. On
the other, a party, with Messrs. Crowe and Caval-
caselle at its head, refuses to modify Vasari's
narrative more than is strictly necessary, and con-
tends that Sanzio left home while still a child, and
began to take lessons from Perugino as early as
1495. Perhaps the truth may lie between the two
extremes, and Raphael's early teaching have been
more desultory than either party will allow. During
the last ten years of the 15th century Perugino's
movements were very erratic ; but from 1495 to
1500 his chief domicile appears to have been at
Perugia, and there, too, Raphael may have spent
most' of his time. That various influences were
contending within him at this period is proved by
such early works as the 'Vision of a Knight,' in
the National Gallery, which is half Timotesque and
half Peruginesque. If the ' Venice Sketch-Book '
may be taken as Raphael's, it affords an additional
proof of his catholicity of study. The arguments
advanced by Signer Morelli have proved conclu-
sively that the drawings it contains are not original
designs by Raphael ; but they leave untouched the
much more tenable belief that they are copies
made by him while still a boy, after studies and
even prints by men so different from each other as
Mantegna, Pinturicchio, and Signorelli. It is very
possible that these drawings were made in the
interregnum between Santi's death and the arriviil
of his son in Vannucci's studio. The continual
recurrence in the afterwork of Raphael, of motives
foreshadowed in the sketch-book, as well as many
details of execution, point to him as its author.
It would be impossible to discuss the question here
at length, and we must be content merely to note
that this solution of the problem has been proposed,
and, as yet, has not met with the attention it seems
to deserve.
Raphael's doings while under Penigino are still-
involved in obscurity, and it is not until he finally
migrates to Rome that the plain road of his career
is reached. While in Vannucci's studio he was
much associated with Pinturicchio, and the part
he played towards that master is another point
in dispute. Pinturicchio commenced his frescoes
in the Piccolomini library, at Siena, in 1504, and
Vasari asserts that he employed Raphael to make
sketches and cartoons for his use. Drawings of
three of these frescoes, existing respectively at
Chatsworth, in the Uffizi, and in the Casa Baldeschi
at Perugia, have long been ascribed to Raphael,
and looked upon as evidence to the truth of Vasari's
statement. Now, however, Morelli and his followers
declare them to be the work of Pinturicchio, and
deny that Raphael had any hand in the frescoes.
About the beginning of 1504 Raphael's inde^
pendent career seems to have begun. The most
important work of this time is the ' Sposalizio,' at
Milan, which is dated 1504. Late in the same
year Raphael went to Florence, ^yhere he opened a
new stage in his development. / The manner of
Perugino rapidly fell away from him, and the dis-
tinctive characteristics of his own personality grew
in freedom. The works of Leonardo and Michel-
angelo were, no doubt, the immediate stimulus. The
Sanzio
PAINTEES AND ENGRAVERS.
Sanzio
influence of the former ia visible in such things
as the ' Maddalena Doni ' ; that of the latter in
many drawings and studies, notably in the free
study from Buonarroti's ' David,' in the British
Museum. This visit to Florence was not of long
duration, however, for in 1505 we find liira back
in Perugia, and at work upon several important
pictures. To these next years belong the altar-
piece painted for the nuns of Sant' Antonio of
Padua, the Ansidei Madonna, which was finished
in 1506, the San Severo fresco, and the Terranuova
Madonna. The 'Entombment' was painted in
1507, and about eighteen months later Raphael
was in Rome. Between 1504 and 1509 it is pro-
bable that he had oscillated a good deal between
Florence, Perugia, and Urbino. The pictures
belonging to that period may have been carried on,
some in one of those cities, some in another, just
as Vannucci before him had probably kept up
studios both at Florence and Perugia. His com-
missions had come from the wealthy patrons of
Florence, from the patricians and religious bodies
of Perugia, and from the ruling family of his own
native Urbino.
It has been generally stated that Raphael went
to Rome in 1508, the assertion being founded on
a letter from him to Francia, quoted by Malvasia,
which, according to that writer, was dated from
Rome in September, 1508. Doubts have now been
thrown on the authenticity of the letter ; and even
Crowe and CavalcaSelle, who accept it in the main,
question the date. How and by whom Raphael
was summoned to Rome is unknown. Julius II.
was invested with the tiara on the 26th Nov., 1507.
Julius, as we know through Paris de Grassis,
declined to take up his abode in the chambers
occupied by Alexander VI., and thence called the
' Torre Borgia.' Contiguous to the suite of apart-
ments in which he actually settled himself, lay
the rooms now famous as the 'Stanze.' These had
been partly decorated by painters of repute, and
nothing could be more natural than for the Pope to
order their completion. Now, more than a month
after the asserted date of Raphael's letter to
Francia, Sigismondo Chigi had engaged with Julius
that Sodoma should paint pictures to the value of
fifty ducats in these upper chambers of the Vatican,
and we know from other evidence that Bazzi's
energies were confined to the ' Camera della Segna-
tura.' But it was in this very ' Camera ' that
Raphael did his first work in Rome, and that after
erasing much that Bazzi had done. It ia clear that
if. Sodoma had only been engaged to paint the
'Camera' in the middle of October, 1508, and if
Raphael's first work in Rome was the supercession
of what that painter had produced in fulfilment of
his bargain, the younger man's arrival in the city
must have been later than the winter of 1508.
Messrs. Crowe and Cavaloaselle assume that Julius
II. visited the ' Stanze ' early in 1509, disapproved
of what Bazzi had done, ordered his work to
be taken down, and, on the advice of Bramante,
Michelangelo, or perhaps Francesco Maria of
Urbino, invited Sanzio to Rome.
Raphael began his work in the 'Camera della
Segnatura' by painting the compartments in the
ceijing, taking the oblongs first and next the
rounds, before descending to the great round-topped
frescoes on the walls. The latter were painted in
the following order : ' The Dispute of the Sacra-
ment,' 'The School of Athens,' 'The Parnassus,'
' Jurisprudence ' (in three pictures). This camera
GG 2
was completed in 1511, after about two years' hard
work, and the Pope at once commissioned Raphael
to decorate the adjoining chamber, the ' Stanza
d'Eliodoro.' The general character of this apart-
ment is Papal rather than philosophical ; it is the
glorification of the Pope rather than that of mind
by which its frescoes are inspired. They consist of
the 'Expulsion of Heliodorus from the Temple,'
'The Miracle of Bolsena,' 'The Deliverance of St.
Peter,' and 'The March of Attila.' Each of these
has a double significance. On the one hand, tliey
celebrate a glorious event in the history of Christi-
anity ; on the other, they recall some achievement
or characteristic of the reigning Pope.
During 1509-14, while Raphael was engaged
upon the 'Stanze,' he also found time to produce
several large altar-pieces, many smaller Madonnas,
and not a few portraits, all of which are enumerated
below. With the accession of Leo X. the Roman
patronage of art expanded still farther, and the
painter was overwhelmed by the umltiplicity of
commissions that poured in upon him. From this
time onward his biography is comprised in his
works. His life was even more uneventful than
usual with a painter. Anecdotes of his covert
warfare with Michelangelo, of his liaison with the
Fornarina, and of his diflSoulties with those extra-
Roman potentates to whom he had ' promised
pictures, make up the history of his later years.
About the middle of 1514 he received his orders to
paint another ' Stanze,' tliat of the ' Incendio del ■
Borgo.' In this third chamber he painted the
'Incendio' itself, 'The Battle of Ostia,' 'The
Coronation of Charlemagne,' and 'The Oath,
of Leo III.' The three latter, however, were
mainly, if not entirely, carried out by his pupils.
Simultaneously with these frescoes, Sanzio carried
on the decorations of the famous ' Loggia.'
For these, too, he was content to make the
designs, the actual painting being carried out •
by Giovanni da Udine, Giulio Romano, Gian-
Francesco Penni, Perino del Vaga, and many '
others. Passavant came to the conclusion that
Raphael's share in the work had been confined to
furnishing sketches, which were expanded into
cartoons, &c., by Giulio Romano, on whom the
immediate charge of the works devolved. Herr
Springer carries doubt still further, and affirms that
but very few original sketches for the Loggia have
come down to us, and that with a large part of the
work, especially in the three last bays, the master
had nothing to do. The whole Loggia consists of
thirteen bays, and each bay contains four frescoes,
representing scenes from the Old and New Testa-
ments ; hence the series is often called ' Raphael's
Bible.' The Vatican contains two more sets of
frescoes, for which Raphael furnished the designs,
even if he did no more. These are the figures of
Christ and the Twelve Apostles, which adorn the
hall of the Pope's pages, and the decorations in
the small room contiguous to the Loggia, which is
known as the bath-room of Bibbiena. I'he latter
has now for years been inaccessible even to the
student ; it is said, indeed, that the paintings of
Sanzio have been hidden under battens ever since
the beginning of the present century.
Pending these frescoes, another great work
Raphael carried out for the palace of the Popes
was the series of designs known as the ' Acts of
the Apostles,' whose most famous embodiment is
to be found in the ' Cartoons.' These originally were
ten in number. All but three have been preserved,
451
Sanzio
A BIOGRAPHICAL DICTIONARY OF
Sanzio
and now hang in the Suuth Kensington Museum.
They are ' The Calling of Peter,' ' The Draught of
Fishes,' ' The Death of Ananias,' ' The Heahng of
the Lame Man,' 'Paul and Barnabas at Lyetru,'
' Paul preaching at Athens,' and ' lOlymas struck
Blind.' The three which have perished were the
' Stoning of Stephen,' the ' Deliverance of St. Peter,'
and the ' Conversion of St. Paul.' All ten designs
were woven in tapestry at Brussels by Pieter van
Aelst, for 1000 ducats a-pieoe, and, after many
vicissitudes, his tapestries are now preserved in tlie
Vatican, more or less damaged. After the com-
pletion of this series, Raphael made sketches for a
'Coronation of the Virgin,' for 'Scenes from the
Life of Christ' (which were finished long after his
death), and for a set known as the ' Giuochi di
Putti.' In all these, however, his share was very
slight ; in the two latter, perhaps, amounting to
nothing beyond a few suggestions to his pupils.
After Leo X., Raphael's chief patron towards the
end of his life was Agostino Chigi, who was occu-
pied with the erection of his famous villa in the
Trastevere during the first twenty years of the
16th century. Chigi's architect, according to
Vasari, whom in this matter we prefer to follow,
was Baldassare Peruzzi, but some critics have en-
deavoured to gain the glory of the work for Sanzio.
It is much more probable that Raphael's first con-
nection with the building was when he began the
' Galatea ' in one of its saloons. The approximate
date of this is furnished by a letter addressed to
Castiglione in the summer of 1514, in which the
fresco is mentioned in terms that would be out of
place in speaking of anything but work lately
finished. Cliigi also comirissioned Raphael to paint
his famous group of the ' Sibyls,' in Santa Maria
della Pace ; the ' Planets,' in Santa Maria del
Popolo ; and the ' History of Psyche,' in the Loggia
of his own villa. In all these works his chief
assistants were the three artists whose names pos-
terity has most closely coupled with his own —
Giulio Romano, Gian-Francesoo Penni, and Gio-
vanni da Udine. Of the easel pictures executed
by Raphael during the last few years of his life,
the ' Madonna della Sedia,' the so-called ' Pearl,'
the ' Madonna di San Sisto,' and the ' Transfigura-
tion ' were the most important. As for the last-
named, it was commissioned by Cardinal Giuliano
de' Medici as a gift to the town of Narbonne, of
which Francis I. had made him bishop. It was
painted in a sort of covert competition with Michel-
angelo, who, as Raphael well knew, was supplying
Sebastiano del Piorabo with drawings for that
' Raising of Lazarus ' which the Cardinal had
ordered at the same time as he commissioned the
'Transfiguration.' The latter was left unfinished
at Raphael's death, and was displayed at the head
of his bier when he lay in state.
Raphael's achievements as an architect and as a
sculptor are beyond the scope of this dictionary.
Their consideration is, moreover, complicated by
the doubts which hang about them. Of all the
buildings ascribed to him the finest is the Palazzo
Pandolfini, at Florence, which was not actually
begun until he was dead, and was then carried
on and finished by two successive architects' —
Gian-Francesco and Aristotile da San-Gallo, whose
influence on the result it is now impossible to
determine. Raphael's doings at St. Peter's, to
which he was appointed arohitect-in-ohief in 1614,
on the death of Bramante, do not speak highly for
his powers as an architect, so far as we can divine
452
what they were. Another disputed point belonging
to these latter years of the painter's life, relates to
tlie authorship of a report on the remains of ancient
Rome presented to the Pope, By a papal brief,
dated August 27th, 1515, Raphael was appointed a
kind of inspector of antiquities, and invested with
powers to forbid the destruction of ancient inscrip-
tions ; and by that fact a starting-point is atforded
to those who would give him the credit of the
report in question. Two editions of its text have
been published, one by the Volpis in their 1733
edition of Castiglione ; the other by Passavant. At
first the report was believed to be the work of
Castiglione, but after the publication of a paper on
the subject, in 1799, by the Abbate Francesconi,
the authorship of Raphael was for a time generally
admitted. In more recent years, however, certain
critics, with Grimm at their head, have elaborated
arguments to prove that Andrea Fulvio, the anti-
quary, who lived in great intimacy with Raphael,
was the true author.
Raphael was never married. In 1514 he was
negotiating for a wife from his native city, when
his appointment to the post vacated by Bramante's
death took place. Thereupon Cardinal Bibbiena
offered him his niece. Raphael broke off the pour-
parlers with Urbino, and engaged himself to Maria
Bibbiena. Her sickness and death, however, soon
put an end to the match. Little as we know of the
subject, it is certain that during his last years the
heart of Raphael was given to the mistress whom
the world now calls the Fornarina, although that
name was never committed to print until early in
the 18th century. Vasari tells us that " Marc-
Antonio executed a certain number of engravings
for Raphael, which he handed over to Baviera, one
of the master's scholars. This man had charge of
a woman whom Raphael loved to death, of whom
the master painted a very beautiful portrait, which
appeared no less than alive ; this portrait is now in
Florence, in the possession of Matteo Botti ; " again,
" Raphael painted the portrait ... of his own mis-
tress" : and "Raphael, like a good Christian, sent
away his mistress before making his will, but gave
her enough to keep her in comfort." Finally he
tells us that Chigi besought the lady to install her-
self at the Farnesina, so that Raphael might have
no inducement to neglect the work he had there in
hand. Late in the 16th century, the owner of a
copy of Vasari wrote on the margin of a page in
which this lady is mentioned, that her name was
Margarita. Beyond the bare facts here set out,
notliing is certainly known of Sanzio' s mistress.
Raphael died at Rome on Good Friday (March
26th or 28th), 1520. The cause of his death was
a rapid fever, brought on, no doubt, as fevers still
are in the same city, by over-work. Whether dis-
sipation had anything to do with it or not, as the
gossips of the time declared, it is now too late to
determine. His body lay in state for a few hours in
his studio, with his 'Transfiguration' hung above
it, and every painter in Rome passed before it. It
was interred in the Pantheon, in a tomb which for
centuries had no mark but the eloquent epitaph of
Bembo.
For an account of Sanzio's relations with Marc'-
Antonio Raimondo, and the painters who were his
pupils— Giulio Romano, Penni, Udine, &o.,— see
their lives.
The following list of pictures is arranged as far
as possible in chronological order. The titles in
italics are those of which the authenticity is doubt-
Sanzio
PAINTERS AND ENGRAVERS.
Sanzio
ful, or in which there is none of the master's own
work : W.A.
TIMBIilAN rEEIOD.
15C0 ? The Knight's Dream. (N'atinnal Gallery.)
The Three Graces. (Due d'Aumdle.)
The Madovna Diotalevi. (Berlin Museum.)
The Solly Madonua. (Do.)
The Madonna with SS. Jerome and Francis. (Do.)
1502 ? Small St. Michael overthrowing Satan. (Louvre.)
1503 ? St George with the Sword. (Do.)
St. George » ith the Lance. (Hermitage.)
The Nativity. (Perugia.)
The Adoration of the Magi. (Do.)
The Dudley Crucifixion ; signed Kaphael Urbinas,
P. (Earl of Dudley.)
The Trinity ; on a processional banner for the Con-
fraternity of the SS. Triniti, at Citta di Castello.
(Gallery of Citth di Castello.)
The Creation of Eve ; pendant to the preceding.
(Do.) Morelli ascribes both to Eusebio di San
Giorgio.
1502-1503. Tue Coronation of the Virgin; painted for
Maddalena degli Oddi of Perugia. (Vatican.)
' Three predella panels for the Coronation — the
' Annnnciation,' the ' Presentation,' and the
' Adoration of the Magi.' [Do.)
1504. The Sposalizio; signed Eaphael Vebinas mdiiii.
(Brera.)
The Madonna Connestabile. (Hermitage.)
The Madouna del Gran Duca. (Bitti Gallery.)
1505. The Ausidei Madonna. (Finished later, and dated
MDVI. National Gallery.)
FLOEBNTINE PERIOD.
1504-1506. The Madonna of St. Anthony of Padua. This
picture forms the point of junction between
Kaphael's first and second styles. (Ex-King of
Naples ; deposited in the South Kensington
Museum.)
1505. The Trinity and Saints ; fresco ; partly by Baphael.
(San Severo, Beriigia.)
1506. Five predella panels to the Madonna of St. Anthony,
now distributed in England —
The Agony in the Garden. (Lady Burdett-C'outts.)
Christ hearing His Cross. (Formerly at Leigh Court.)
The Pieta. (Mr. M. H. Dawson.)
S. Anthony. (Dulioich Gallery.)
S. Francis. (Do.)
1506. St. John the Baptist preaching; predella to the
Ansidei Ma<lonna. (Marquis of Layisdowne.)
1505-1506. The Terranuova Madonna. (Berlin Museum.)
Portrait of Angelo Doni. (Bitti Gallejy.)
Portrait of Maddalena Doni. (Do.)
La Donna Gravida. (Do.)
Portrait of a Lady. (Vffizi.)
Boi trait of Himself. (Do.)
The small Cowper Madonna. (Earl Cou-per, Ban-
shanger.)
The Madonna del Cardellino ; painted for Lorenzo
Nasi. (UJizi.)
The Madonna in the meadow ; signed and I'ated
1505 or 1506. ( Vienna Gallery.)
The Madonna di Casa Tempi. (Munich Gallery.)
The little Orleans Madonna. (Duo d'Aumdle.)
The Madonna with the beardless Joseph. (Her-
mitage.)
The Madonna of the Palm. (Bridgewater Gallery.)
The Canigiani Madonna. (Munich Gallery.)
1507. The Entombment ; signed and dated ; painted at
Perugia for Atalanta Baglioni. (Borghese Gallery,
Rome.)
Three predella panels for the last named — ' Faith,'
' Hope,' and ' Charity.' (Vatican.)
The Holy Family with the Lamb ; signed and dated
1507. ( Madrid Galle7-y.)
St. Catherine of Alexandria. (National Gallery.)
The Madonna with the Bink. (Lucca, Count L.
Spada.)
The Bridgewater Madonna. (Bridgcwater Gallery.)
The Madonna di casa Colonna ; unfinished. (Berlin
Museum.)
1508. The large Cowper Madonna; signed and dated.
(Banshanger.)
•0.)-) i i
'o.)Ut
La Belle Jardiniere; painted largely by Eidolfo
Ghirlandajo. (Louvre.)
Tile Esterhazy Madonna. (Besth.)
The Madonna del Baldacchino ; begun by Eaphael,
finished by some one else, perhaps Fra Barto-
lommeo. (Pitti Gallery)
ROMAN PERIOD.
1509. Astronomy. (Fresco in the Camera della Segnatura,
Vatican.)
Judgment of Solomon. (Do.)
Fall of Man. (Do.)
Apollo and Marsyas. (Do.)
Theology. (Do.)
Poetry. (Do.)
Justice. (Do.)
Philosophy. (Do.)
The Dispute of the Sacrament. (Do.)
The School of Athens. (Do.)
Parnassus. (Do.)
Fortitude, Prudence, and Temperance. (Do.) I
Justinian issuing the Pandects. (Do.)
Gregory IX. delivering the Decretals. (Do,)jr-i ^
Bortrait of Julius II. (Bitti Gallery ; many other
versions exist. )
Bortrait of Sannazaro. (Hermitage.)
Madonna di Loretto. (Lost; a very good copy
deposited at South Kensington.)
The Madonna of the Diadem. (Louvre.)
The Madonna di Casa Alba. (Hermitage.)
The Eogers Madonna. (Bresent owner unknomn.)
The Garvagh, or Aldobrandini, Madonna. (National
Gallery.)
God appearing to Noah. (Fresco in Stanza d'Eli-
odoro, Vatican.)
Abraham's Sacrifice. (Do.)
Jacob's Dream. (Do.)
The Burning Bu.*. (Do.)
The Expulsion of Heliodorus. (2?o.)
The Miracle of Bolsena. (Do.)
1512? The Madonna di Foligno. (Vatican Gallery.)
The Madonna del divin 'amore. (Naples Gallery^
The Madonna dell' Impannata. (Munich Gallery.)
Portrait of Bindo Altoviti. (Do.)
Isaiah. (Fresco in S. Agostino, Borne.)
The Repulse of Attila. (Fresco in the Stanza d'Eli-
odoro, Vatican.)
The Deliverance of St. Peter. (Do.)
Caryatides. (Do.)
The Triumph of Galatea; painted for Agostino
Chigi. (Farnesina Palace, Borne.)
The Madonna della Seggiola. (Pitti Gallery.)
1514? The Four Prophets — Lsaiah, Daniel, Jonas, and
David. (Frescoes in the Church of S. Mai-ia
della Bace, Rome.)
The Sibyls. (Do.)
The Madonna del Pesce. (Madrid Gallery.)
The Madonna dei Candelabri ; the angels certainly
not by Raphael. (Mr. Butler- John son.)
The Madonna della Tenda. (Munich Gallery.)
Portrait of Inghirami. (Bitti Gallery.)
1514. Incendio del Borgo. (Fresco in the Stanza delP
Incendio, Vatican.)
The Battle of Ostia. (Do.)
1515-1516. The Cartoons—
The Miraculous Draught of Fishes. (South Ken-
sington Museum.)
The Charge to Peter. (Do.)
The Conversion of St. Paul. (Lost.)
The Stoning of Stephen. (Lust.)
Peter and John at the Beautiful Gate of the
Temple. (South Kensington Museuin.)
The Death of Ananias. (Do.)
Elymas struck blind. (Do.)
SS. Paul and Barnabas at Lystra. (Do.)
St. Paul preaching at Athens. (Do.)
St. Paul delivered from Prison. (Lost.)
Portrait of Giuliano de' Medici. (Lost.)
Portrait of BaldasFare Castiglione. (Louvj'e.)
Portrait of Cardinal BibbienJ. (Bitti Gallery.)
Bortrait of a Youth. (Louvre.)
Coronation of Charlemagne. (Fresco in the Stanza
dell' Incendio, Vatican.)
The Oath of Leo III. (Do.)
453
Sanzio
A BIOGRAPHICAL DICTIONAHY OF
Sarazana
1517 ? Lo Spasimo di Sicilia ; painted for S. Maria dello
Spasimo, Palermo. {Madrid Gallery.)
Tlie Madonna di SanSisto ; painted for the convent
of San Sisto, at Piacenza. {Dresden Gallery.)
The St. Cecilia ; painted for a chapel in S. Giovanni
in Monte, Bologna. {Bologna Gallery.)
1518. II Suonatore, (the Violin Player) ; dated. {Sciarra
Colonna Palace^ Rome.)
The^Fornarina;^ signed. {Barberini Gallery, Rome.)
La Donna Velata. {Pitti Gallery.)
The Vision of Ezekiel. {Do.)
Portrait of Lorenzo de' Medici. {Lost.)
The large St. Michael. {Louvre)
Madonna of Francis I. ; signed and dated. {Do)
Portrait of Joanna of Aragon. {Do.)
Portraits of Leo X. and his secretaries — Cardinals
Giulio de' Medici and de' Rossi. {Pitti Gallery.)
Portrait of a Cardinal. {Madrid Gallery.)
The History of Psyche. {Frescoes in the Farnesina,
only a fragment here and there believed to be hy
Raphael' s own hand.)
Justice. ( Wall painting in oil, in the Sala del Con-
stantino^ in the Vatican.)
Comity. {Do.)
Charity. {Fresco in do.)
Battle of Constantine. (Do.)
The Madonna known as * La Perla^ {Madrid
Gallery.)
Small Holy Family. {Louvre.)
The Holy Family under the Oak. {Madrid Gallery.)
The Madonna of the Rose. {Do)
The Madonna del Passeggio. {Bridgewater Gallery.)
St. Margaret. {Louvre.)
The Visitation. {Madrid Gallery)
St. John the Baptist in the Desert. {Uffizi)
.Another Version. {Louvre)
The Transfiguration ; left unfinished by Raphael
and completed after his death, probably by
Giulio Romano. ( Vatican Gallery.)
The Coronation of the F?>(//k, painted after Raphael's
death by his pupils, from the master's .sketches,
in fulfilment of a contract originally made in
1505.
The most important collections of Eaphael's
drawings are at Oxford ; at Lille ; in tlie Louvre ; in
the British Museum ; at Berlin ; in the Albertina,
Vienna ; in the Venetian Accademia ; in the Uffizi ;
at Chatsvporth ; and in the possession of Mr.
Malcohn of Poltalloch.
BIBLIOGRAPHY.
Vasari, Milanesi's Edition, vol. iv. pp. 315 — 386. (Flor-
ence, 1880.)
Duppa, ' Life of Raphael Sanzio.' (London, 1816.)
Quatremere de Quiucy, * Histoire de la vie et des
ouvrages de Raphael.' (Paris, 1824.)
J. D. Passavant, ' Raphael D'Urbin et son pere, Giovanni
Santi.' (Paris, 1860.)
Hermann Grimm, ' Das Leben Raphaels von Urbino.'
(Berlin, 1872.)
Crowe and Cavalcaselle, 'Raphael, his Life and Works.'
(London, 1882 and 1885.)
Ant. Springer, ' Raflael und Michelangelo.' (Leipzig,
1883.)
Bug. Milntz, ' Raphael, sa vie, son ceuvre, et son temps.'
(Paris, 1886; Enghsh Edition, Loudon, 1887.)
Baldassare Castiglione, 'II Lihro del Cortigiano del
Conte B.C. &c.' (Venice, 1528. )
Luigi Puugileoni, ' Elogio Storico di Raffaello Sanzio da
Urbino.' ^ (Urbino, 1829.)
G. Campori, * Notizie e documenti per la vita di
Giovanni Santi e di Raffaello Santi, da Urbino.'
(Modena, 1870.)
G. Cugnoui, ' Agostino Ohigi 11 Magnifico.'
Carlo Fea, ' Notizie intcrno Raffaele Sanzio.' (Roma,
1822.)
Johan Gaye, ' Carteggio inedito d'arlisti del seooli xiv.-
vi.' (Firenze, 1839-40.)
Gio. Morelli, 'Italian Masters in German Galleries.'
(London, 1883.)
Ditto, 'Noch einmal das Venezianische Skizzenbuch,'
in the ' Zeitschrif t fiir Bildende Kunst,' January and
February, 1887. (Leipzig.)
454
Marco Miughetti, 'Raffaello.' (Trans, by L. Fagan,
London, 1882.)
Gus. Frizzoni, ' L'Arte Italiana nella Galleria Nazionale
di Londra.' (Florence, 1880.)
H. Grimm, ' Raphael et I'Antiquite.' (Berlin. )
Kahl, ' Das Venezianische Skizzenbuch.' (Leipzig, 1882.)
Aug, Schmarsow, ' Raphael und Pinturicchio in Siena.'
(Stuttgart, 1880.)
Pulszky, 'Beitrage zu Raphaels Studium der Antike.'
(Leipzig, 1877.)
Ant. Springer, ' Raffaels Schule von Atheu.' (Vienna,
1883.)
R. Forster, ' Farnesina-Studieu.' (Rostock, 1880.)
H. de Geymiiller, 'Raffaello Sanzio Studiato come
Architetto.' (Milan, 1884.)
Ditto, ' Les Projets primitifs pour la reconstruction de
Saint Pierre de Rome.' (Paris, 1875-80.)
F. A. Gruyer, ' Les Vierges de Raphael.' (Paris, 1869.)
Ditto, 'Raphael, Peintre de Portraits.' (Paris.)
Eug. Miintz, ' Historiens et critiques de Raphael.' (Paris,
1883 ; a Bibliography.)
Ch. Bigot, ' Raphael et la Farnesine.' (Paris, 1884.)
Ch. Clement, ' Michel- Ange, Leonard de Viuci, Raphael.'
(Paris, 1878, fourth edition.)
Com. Paliard, ' La Petite Madonue d'Orl&ns et diverses
erreurs de Passavant.' (Paris.)
Louis Fagan, ' Raphael Sanzio, his Sonnet in the British
Museum.' ( Loudon, 1884.)
J. C. Robinson, ' A critical Account of the Drawings by
Michelangelo and Raffaello in the University Galleries,
Oxford.' (Oxford, 1870.)
W. M. Conway ; ' Catalogue of Raphael's known Draw-
ings, Pictures, and Frescoes.' (Liverpool, 1887.)
SARABIA, Francisco Antolines, nephew of
Josef de Sarabia, born 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, horn at
Seville in 1608, was iirst 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 defioient 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 Saraoino, Saracini,) Carlo,
called Veneziano, a painter, born in Venice in
1585. According to Baglione, he visited Rome
during the pontificate of Clement VIII., and
was for some time under the tuition of Camillo
Mariani, but afterwards studied and imitated the
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
Garolus Saracenus invent. Pictures:
Munich. Pinakothek. The Death of the Virgin.
„ „ St. Francis of Assisi.
St. Jerome.
i Death of the Virgin.
Virgin enthroned.
Several Frescoes.
Repose in Egypt.
Joseph interpreting Dreams.
Beheading of the Baptist,
Scene from the Deluge.
Rome. S. Maria in
Trastevere.
„ S. Sinione.
„ Quirirtal.
„ Doria Palace.
„ Borghese Palace.
„ Sciarra Palace.
Venice. Manfrini Palace.
SARAZANA. See Fiasella.
Sarazin de Belmont
PAINTERS AND ENGBAVEBS.
Sassa
SARAZIN DB 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
vaiious 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.
SARBOT. 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 hia name.
SARBRUCK, Babtholome von, painter, born at
Treves about 1590, and called Tbevirensis, worked
in Basle and in Bern, and painted several portraits
in the style of Vandyck.
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, born 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 he
never took part in any public exhibitions, and
though received by the Academy in 1702, did not
become a full member. Ho 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 are
very indifferently executed. Among others, we
have the following prints by him :
J. B. Bossuet, Bishop of Meaux ; after Uigaud,
Antoine Coypel, Painter to the King; after JVetscher.
Etienne Gantrel, Engraver to the King ; after Largil-
liere.
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, BiNiGNB, 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 H6tel 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 medallions 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. Ltike 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.
SARTABELLI. See Saltakello.
SARTI, Antonio, an Italian painter, practising
about 1600, mentioned by Baldassini in his ' Storia
di Jesi,' where he highly commends a ' Circumcision'
in the collegiate church of Massaccio.
SARTI, Ercolb, called II Muto 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 town. He also painted a portrait of
Pope Sylvester, now in the Oostabili Gallery. He
died about 1637.
SARTO, Andrea del. See Andrea d'Agnolo.
SARTORIUS, Francis, an animal painter, who
lived and practised in England during the latter
part of the 18th century. He painted portraits of
horses and dogs, and also hunting-pieces. Many
of his productions were engraved in mezzotint and
aquatint. He died about 1806.
SARTORIUS, Jakob Christopher, an engraver
of Nuremberg, whose portraits and book-illus-
trations bear dates from 1694 to 1737.
SARTORIUS, John N., son of Francis Sartorius,
was, like him, an animal painter. He exhibited at
the Academy from 1778 to 1824. His subjects
were connected with the turf. A few game pieces
are extant with the name of Sartorius, but whether
by John N. or Francis is uncertain.
SARZANA. See Fiaselli.
SARZETTI, Angiolo, an artist of the Bolognese
school, born 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, born
in Saxony, 1724. She was the pupil of her father,
Georg Lisiewski, 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, Wassily Kondeatiewitch, a Russian
painter, born at Gomel, Mohyleff, about 1789. He
studied in the Academies of Petersburg and Ongru-
moff, and devoted himself chiefly to biblical and
historical subjects. An example of the latter is
in the Hermitage at Petersburg: ' The Grand Duke
Dmitry Donskoy after the Victory of Koulikovo,
1380.' ■ He died at Petersburg 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
455
Sassetta
A BIOGRAPHICAL DICTIONARY OF
1791 to 1813. In 1811 He 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.
SASSKTTA, Stefano di Giovanni, a Sienese
of the 14th century, who painted a ' Christ on the
Cross,' in S. Maria de' Servi, in Siena ; a ' Coronation
of the Virgin,' at the Porta Romana, Siena ; ' The
Burial of the Virgin,' in the Cathedral of Asciano ;
and a 'Madonna and Saints,' in S. Domenico in
Corlona. He was the master of Sano di Pietro.
SASSI, Giovanni Battista, flourished at Milan
in the 18th century, was a pupil of Solimena, in
Naples, but returned in 1715 to Milan, where ho
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 15lh century. His son,
Stagio, excelled his father in the same art, and
was a collaborateur with Domenico Pecori, and
later with the famous Guillaume de Marseilles.
SASSONE, II. See Mengs, Anton Rafael.
SATTLEK, 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, Lobenz, a German engraver
on wood, who, according to ProfeSFor Christ, pub-
lished some wood-cuts at Wittemberg in the year
1699. He used a cipher composed of an L. and
an S. He is supposed to have died in 1613.
SADERWEID, Alexander, a draughtsman and
painter of battle-pieces, was born in Courland, in
1782, and received his training in the Dresden
Academy. Coloured prints from bis drawings had
great popularity about thirty years ago. He was
patronized by Alexander I. of Russia, and resided
for a considerable time at St. Petersburg, where he
died in 1844.
SAUNDERS, JosErH, an English miniature
painter, working in London towards the end of the
18tli century. He had an extensive practice, and
was eraploj'ed principally as a painter of ladies'
portraits. From 1778 to 1797 he exhibited occa-
sionally at the Academy. His son, R. Saunders,
practised the same art.
SAURA, MosBN Domingo, a Spanish painter of
the 17th ceritiu'y, born 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.
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 be painted twelve windows
for Prince Thurn-and-Taxis at Ratisbon, and,
jointly with Vortel of Munich, he executed the
windows in the hall of the Minnesanger in the
Landsberg Sohloss at Meiningen, Fine examples
of his art are preserved in the Hertel collection at
Nuremberg, consisting of paintings on glass- after
Albrecht Diirer's Life of the Virgin. He died at
Nuremberg in 1843,
SAUVAGE, Antoine, called Lemiee Ihe younger,
to distinguish him from his father, Gabriel Charles
456
Sauvagb, 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 18lh cen-
tury. His wife, n^ Sophie Bbinisholtz, 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 Gr:^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 bas-relief, in which he became
eminent. He settled for a considerable time in
Paris, where his works were in high estimation.
In 1808 he returned to his own city, where he
taught in the Drawing School. His paintings in
has relief are to be seen in the museums of Tournai,
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 Tournai
in 1818.
SAUVA6E0T, Charles Thi^odore, painter, horn
in Paris in 1826, was a pupil of Isabey. He ex-
hibited landscape views of French scenery at tlie
Salon from 1863 onwards, and died at Fontainehleau
in 1883.
SAUVAGEOT, Denis Franqois, 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^^b Charlot'ib (»ee Gal-
Lio'i), bom in Paris in 1800, was a pupil of Bouchet.
From 1819 to 1848 she exhibited portraits and genre
pictures.
SAUVAN, Philippe, painter and engraver, horn
at Ailes in 1695, studied under Parocel and in
Italy. He painted several altar-pieces in Aries,
Aix, and Avignon ; also portraits. His son Pieebb
and his daughter Gabbielle also painted. He
died at Avignon in 1789, There are examples of
his work in the Museum of Avignon.
SACVfi, 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.
SAUVfi, Jean Jacques Theodore, a French en-
graver and lithographer, was born in 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 bis portraits we may name those
of:
William III. and Queen Mary,
Bishop Latimer.
John Alasco,
Algernon Sidney,
Archibald Campbell, Earl of Argyle.
Henry CorDish, Sheriff of London,
Sir Bdmundbury Godfrey.
John Gadbury, Astrologer,
James Fitzrgy, Duke of Monmouth.
Savage
Sir Thomas Armstrong.
Sir Henry Ohauncey, Antiquary.
Chief Justice Sir Henry Pollerfen.
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-
alive 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
Library at Valenciennes there is a Gospel finely
ilUmiinated by him.
SAVART, Pierre, French engraver, born in
Paris in 1760. He produced several plates in the
neat, finished style of Ficquet ; among them the
following portraits of illustrious Frenchmen :
Louis XIV.; after Eigaud. 1771.
Louis de Bourbon, Prince de Cond4: after Le Juste.
1776.
Jean Baptiste Colbert ; after P. de Chavipagne. 1773.
J. B. La Bruyere ; after St. Jean. , 1778.
Pierre Bayle ; after the same. 1774.
Jean Racine ; after Santerre. 1772.
Nicholas; Boileau Despr^aux ; after Higaud ; an oval,
1769.
Babelais; after Sarrabat. 1767.
Cardinal Kiohelieu ; after P. de Champagne.
Nicholas de Catioat, Mar(§chal de France.
Comte de Buffon ; after Drouais. 1776.
Bossuet ; after Eigaud. 1773.
D'Alembert; after Catherine Lusurier. 1780.
Montesquieu. 1779.
SAVARY, AuGUSTE, painter, born at Nantes in
1799, a pupil of Boissier. fie exhibited many
French landscapes at the Salon from 1824 to 1859.
SAVERY, Jakob, the elder, born at Courtrai,
practised at Amsterdam about 1560. He was the
father of Jakob Savery the younger, and the
master of Willem van Niculant. He excelled in
paintinu; animals, birds, and fishes.
SAVERY, Jakob, the younger, painter, was
born at Com trai about the year 1645, 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 1697. 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 1665. 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. Savery f fee. Nic. de Clerc. exc.
A Land.scape, with a Stag-hunt ; J. Savery, fee. H.
Hondius.
A Landscape, with Samson killing a Lion ; J. C. Viss-
cher, exc.
SAVERY, Roelandt, theson of Jakob Sarery the
elder, was born at Courtrai in 1576, and instructed
by his brother, J akob 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 lifo, 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-
PAINTERS AND ENGRAVERS.
Savonanzi
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. B. Museum. Orpheus.
„ „ landscape with Hunt.
Dresden. Gallery. Hunting a Boar,
„ „ A Mountain Torrent.
„ „ The Ark of Noah.
„ „ Five other Landscapes.
London. Nat. Gallery. Orpheus charming the Beasts.
Munich. Pinakothek. A Boar-hunt.
SAVERY, Solomon, (Savry,) a Dutch engraver,
born at Amsterdam in 1594. From his 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 T/Vest^
minster in the back-ground,
Oliver Cromwell. 1649.
John Speed, the Historian.
Thomas, Lord Fairfax.
Christ driving the Money-changers out of the Temple ;
after Eemh'andt.
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, GiAN-GiROLAMO, was born about
1480, at Brescia. Very little is known of his life,
but he is said to have pursued his profession for
pleasure rather than for gain. He was at Venice
in 1621, OS he went there from Treviso to finish
a painting for the altar of San Niccol6, which had
been left unfinished bj' Fra Marco Pensabene.
This picture rejresents an enthroned Virgin and
Child with Saints. He was fond of introducing
evening or night effects into pictures of a sacred
character. According to Aretino, Savoldo was
still living in 1548.
Berlin, Gallery. Venetian Girl.
Brescia. S. Barnabas. Nativity.
Florence. Ufflzi. The Transfiguration.
Hampton Court. Infant Christ adored by
Saints.
London. Nat, Gallery. Mary Magdalene on her way
to the Sepulchre.
Milan. JHrera. Glory of the Virgin.
Paris. Louvre. Two Portraits.
Turin. Gallery. The Nativity.
Venice. Academy. St. Peter and St. Paul.
Vienna. Belvedere. The Entombment.
SAVOLINI, CEiSTOlfORO, painter, of the Bolognese
school, a native of Cento, and a pupil of Cristoforo
Serra. He painted a good picture of the patron
saint for the church of S. Colombia, at Rimini. He
was still living in 1678.
SAVONA, II Prbte di. See Guidobono.
SAVONANZI, Emilio, a nobleman of Bologna,
born in 1580, 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.
457
Savorelli
A BIOGRAPHICAL DICTIONARY OF
Scaiario
SAVORELLI, Gaetano, painter and draughls-
maii, flourished at Rome from 1760 to 1775. He
is chiefly known as having made drawings from
Giovanni da TS dine's grotteschiin the Loggia of the
Vatican, from which Giovanni Ottaviani engraved.
SAVORELLI, Sebastiano, a priest of Porli and
pupil of Cignani. He was practising in 1690, and
painted for the churches of ITorli 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 r'iposo, 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 san^e 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
small 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 liis
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, Christophek, 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
Ryther bore the expense of the series, which was
published in 1579, and dedicated to Queen Elizabeth.
SAY, William, an eminent engiaver in mezzo-
tint, was born at Lakenham, near Norwich, in
1768. He was left an orphan at the age of five
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 modern
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
458
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.
SAYTER. See Seutee.
SAYVE, (or Saive,) Jean Baptiste de, called
Jean db Namoe, 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 ofNotre | Martyrdom of S. Cathariue.
„ „ Baptism of Christ.
Namur. Cercle Arch'olo- } mu t i j. c n t
„,/„,« f ""^ Judgment of Cambyses.
„ „ Portraits of the 'Echevins'
(Z>ipti/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 1865.
SBARBI, Antonio, a Cremonese painter, was
first a scholar of Bernasconi at Milan, and after-
wards studied at Bologna under Lorenzo Pasinelli.
He was invited to Piacenza by the Duke Ranucci
Farncse, 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, born at Vicenza
in 1735, painted in the style of the Bassani. His
works are to be found in the churches of Vicenza,
Padua, and Verona. He died in 1802.
SCACCIANI, Camillo, called Carbone, an ItaUan
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 Schweykhard. 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 Uffizi.
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
Scalabrino
PAINTERS AND ENGRAVERS.
Scarsella
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, Pibeke, 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 Botombment of Christ ; after Raphael.
The Battle of Constantiue ; after the same.
Diana and her Nymphs ; after Domenichino.
Robert-Dumesnil, torn, iii., has ascribed forty-seven
prints to Scalberg, who is said to have worked as
late as 1660.
SCALBERGE, (or Scallb 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-
berge, and sometimes Scalle Berge, must not be
confounded with Pierre Scalberg.
SCALIGERI, Babtolo, 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 boin 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 born 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, (SoHiAMONOSsi, Sciaminossi,)
Raphael, a native of Borgo S. Sepolcro, born about
1670, was a scholar of Raffaellino 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 vQ^ • He was still living in 1620. Among
his plates we may name :
Tile Virgin and Child ; inscribed Eaphael Schaminossius
Pictor,4-c. 1613.
St. Francis preaching in the Desert ; also from his ovm
design. 1604.
A set of fourteen plates entitled Mysteria rosarii
Beata Maria Virginis. 1609.
The Sibyls; a set of upright plates; from his own
designs.
The Stoning of Stephen ; after Luea Cambiaso.
A RipoBo ; after Federigo 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 Lipro di Dal-
MASIO, and also LiPPO. dalle Madonnb, 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 Dalmasio
Scannabecchi, who painted at Bologjia 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 he 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 Gullery, London,
there is a ' Madonna and Child in Glory,' signed
Idppus Dalmasii pinxit. It is a very poor pro-
duction.
SCANNABECCHI, Teresa. SeeMuRATORi.
SCANNARDI D'AVERARA, a painter practising
at Bergamo towards the close of the 16th century.
No record of his life and works has survived, but
we learn 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. Ahbelis, (Scannavesi,) was
born 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
fourteen pictures. There are many pictures by
Scannavini in the churches at Ferrara, among others
tlie '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 Grazio. He died at Ferrara in
1698.
SCARAMUCCIA, Giovanni Antonio, a painter
of Perugia, born 1580, was a pupil of RonoalH, 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
Perugino, was born at Perugia in 1616. He was
the son of Giovanni Antonio Scaramucoia, 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. PulUico. Coronation of Charles V.
Milan. Ch. of San Marco. St. Barbara.
Perugia. Ch. of the Filip- ) ^j^^ presentation in the Temple.
pzm. )
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 Lad. Carracci.
Venus and Adonis ; after An. Carracci.
The Virgin ; after the same.
SCARPACCIA. See Carpaccio, Vittore.
SCARSELLA, Ippolito, called Lo Scarsellino,
painter, was born at Ferrara in the year 1561. He
was the son of Sigismondo Scarsella, from whom
he received his first instruction, but he afterwards
459
Scarsella
A BIOGRAPHICAL DICTIONARY OF
Schaffer
visited Venice, where he became the scholar of
Giacomo Bassano, and studied the works of Paolo
Veronese. Prom 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.
Soarsellino 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.
„ CostaUli Gallery. Virgin and Child.
„ Count Mazza. The Last Supper.
„ Finacoteca, The Marriage at Cana.
„ S. Benedetto. The Assumption.
„ S. Faolo. Frescoes.
"f;;:lA<'°-«-<'f*eKings.
Florence. Vffizi. Judgment of Piiiis.
„ „ Virgin and Child.
Madrid. Museum. Virgin and Child.
SCARSELLA, Sigismondo, called Mondino,
painter, was born at Ferrara in 1530, and was
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, Gieolamo, painter and engraver,
a Bolognese, and pupil of Geesi, was practising
about 1660. He worked for a time at Milan, and
subsequently at Turin, about 1670.
SCHAAL, Louis Jacques Nicolas, painter and
engraver, was born in Paris, February l.S, 1800.
He was a pupil of Daguerre and of Lethiere, and
entered the feole 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 Arts,'
with eight engravings (1859).
SCHACHMANN, Karl Adolph Gottlieb,
(Gotti.ob, Gottfried,) Feeiherk 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, Rudolph Christian, draughtsman
and painter, born at Hamburg shout 1760, studied
successively under Tisohbein, 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.
SCliADGW, WiLHELM Friedrich von, son of
Johann Gottfried Schadow, the architect, was born
at Berlin in 1789. He studied under his 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,
wliither his pupils, J. Hiibner, Hildebrandt, Sohn,
and K. F. Lessing, accompanied him. He success-
fully reorganized the Academy, and in 1829 founded
the Art Union of Westphalia. From 1836 onwards
460
he was the object of many attacks, being accused
of professional intolerance, and of favouring religious
art to the exclusion of other aenres. In 1840 he
revisited Rome on account of his health, and in
1859 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 1802. His principal
works are :
Ansbaoh. Cathedral. A Christ.
Berlin. IVat. Gallery. Christ on the Read to Emmaus.
„ „ Half-length portrait of a
"Woman.
„ „ Portrait group of Thorwald-
sen, 'Wilhelm, and Rudolf
Schadow.
„ Theatre. A Bacchanal.
„ The Werder Church. The Four Evangelists.
Diilmen, West- Parish ) ,t i tv i
phaiia. CWd.P'^''"^D°'"™^^-
Frankfort. Museum. The Wise and Foolish Virgins.
Hanover. Market Church. Christ on the Mount of Olives.
Munich. Pinalcothik. The Holy Family.
Rome. Casa Bartoldi. Joseph's Bloody Coat. {Fresco?)
„ „ Joseph in Prison. {Tlo.)
Heaven, Purgatory, and Hell, an allegory ; his last work.
SCHAEKEN, Wilhelmds, painter, born at
Weerd in 1754, was a pupil of Borrekens, aiid 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
inilials of his Christian names as A. L. His chief
prints a_re 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, Eugen Eduard, engraver, born 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 he returned to
Munich, and in 1839 was appointed teacher of en-
graving at the S:adel Institute. In 1844 he went
to Florence and engraved the 'Madonna della Sedia.'
Between 1852 and 1856 he was in Rome, but re-
turned to Frankfort, where he died in 1871. Of his
plates we may name :
The Madonna della Sedia ; after Raphael.
Tlie Madonna del' Gran Duca ; after the same.
The Lower World ; after Cornelius.
The Judgment of Paris ; aftm- the same.
llomeo and Juliet ; after the same.
The Rape of Helen ; after the same.
Two scenes from Shakespeare's ' Tempest ' ; after
Kaulhach.
Euphrosyne ; after Steinle.
Genevieve ; after Steinbriick.
The Erl Konig ; after Neher.
Schaffnaburg^ensls
PAINTERS AND ENGRAVERS.
Schalcken
The latroductioD of Christianiby ; after Veit.
Poetry ; after Maphael {left unfinished).
MadoDna di Terranuova ; after the same (ditlo).
Sacred and Profane Love ; after Titian (ditto).
SCHAFFNABURGENSIS, Matthaus, an en-
graver on wood, who executed the cuts for a Bible,
printed at Wittemberg in 1545. He marked his
prints witli the initials M. S. on a tablet. By
some he has been supposed to be identical with
Matthads Grunewald.
SCHAFFNER, Martin, a painter of Ulra, who
flourished ia 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 Sohleissheim. His figures are
noble, yet delicate, full of feeling and expression
in the lieads, 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 Schaffiier
Mahler zu Vim, 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 tlie monogram MS. Chief works :
^"Ssburg, \ %aea.e.% from the Passion.
Schleissheim. J
London. ■S"*;^^!"" } C"'"'* C''"^* '^^™"S *° ^l"^'
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.
Kuremherg. Germanic \ a H^-niece'
Museum, j -^-"^"^ P'^'^'^'
„ Moritz-CavcUe. Adoration of the Magi.
Stuttgart. Mus. of An- \ Four large pictures, dated 1510
tiquities. j to 1519.
Ulm. Great Church, Saints and the families of
Christ's ancestry.
Vienna. Gallery/. Several Pictures.
SCHAFLER, (Schafflek, Scheffler,) Chris-
TorH Thomas, painter, was born at Augsburg about
1700. He was of tlie 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 Eital ; and works in the monastery of
S. Ulrich at Augsburg, in the Capucliin church at
Eichstadt, in the old chapel at Ratisbon, and in tlie
" Congregations-Saal " at Ingolstadt. He made
many designs for book illustrations. He died at
Augsburg in 1766.
SCHAGEN, GiLr.is van, a Dutch painter, born
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 twent}'-
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, Kmg 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 lias
left one etching, a cottage scene, with an old man.
Tiiere is a picture ascribed to him in the Bridgewater
Gallery. Hedied at Alkmaar in 1G68.
SOHAUFELIN, Hans, the son of Hans Leon-
hard Schaufelin, left Nbrdlingen in 1542, and settled
in Freiburg. To Hans are now attributed many of
the weaker works formerly assigned to the father.
He died in 1682.
SCHAUFELIN, Hans Leonhahd, (Scheufpelin,
ScHAUFFELEiN, SuHEYFFELiN,) bom at Nuremberg
in 1490, was the pupil of Albrecht Diirer, of whose
style he caught many of the beauties. He had a
rich 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
a!so 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 of
Nirrdlingen.
A Last Supper ; in XTlm Cathedral.
The Dead Christ ; in the Cathedral at Nuremberg.
A Descent from the Cross ; in St. George's Church,
Nuremberg.
Coronation of the Virgin (in 16 panels, with 291 figures) ;
.in the Church at Anliausen.
Death of the Virgin ; in Munich FijiakotheJc.
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 the
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 Museum.
Noli me Tangere ; Cassel Gallery.
Portrait in the possession of the Duke of North-
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.
SCHALCH, JoHANN Jacob, a landscape painter,
was born at Schaffhausen in 1723, and was a
scholar of Schnaezltir, and of an artist of the name
of Hamilton, at Augsburg. He visited Holland
and England, and died in 1770.
SCHALCKE. See Van der Sohaloke.
SCHALCKEN, Godfribd, 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 efEect to his candle-
light pieces, he is said to have adopted the follow-
461
Schalcken
A BIOGRAPHICAL DICTIONARY OF
Schaten
Amsterdam. E. Museum.
Antwerp.
Berlin.
Brussels.
Dresden.
Glasgow.
Hague.
Museum.
Museum.
Museum.
Gallery.
Gallery.
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, Ids 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
chiaro-scuro. His touch is mellow, but too fused,
and his colour warm and golden. Works :
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-light.
Old "Woman reading ; life-size.
Three Pictures of Girls with
candles.
Woman in Bed, putting out
the candle.
A Ijady at her Toilet by candle-
light.
Portrait of "WiUiam III. [And
three others.)
Lesbia weighing Jewels against
her Sparrow.
Old Woman scouring a pan.
The Duet.
Soldier 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, Makia, 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, Heinbioh, 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.
SCHALLEB, Anton, an elder brother of Johann
Nepomuk Schaller, the sculptor, was born 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.
4G2
London. Nat. Gallery.
„ Dulwich "Gal.
„ Buckingham Pal.
Madrid.
Munich.
Paris.
Gallery.
Louvre.
Petersburg. Hermitage.
Vienna. Gallery.
SCHALLER, Eduaed, 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.
SCHALLHAS, Carl Philipp, landscape painter
and engraver, bom in 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 Dantzio, died in 1686. He excelled
in portraits, and in the painting of animals.
SCHAPFF, JoEG, according to Heineken, exe-
cuted the outs 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, 3otg
Scl)apff fn ■augafiourg. Zani says he was still at
work in 1473.
SHARPER, (or Shaper,) Johann, a German
painter, native of Harburg, who settled in 1640 at
Nuremberg, 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.
SCHABER, Johann Jakob, born at Schaffhausen
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 1815 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 Mr. George
Scharf, C.B., Director of the National Portrait
Galleiy. Scharf died in London in 1860.
SCHARF, Johann, born at Vienna, July 13th,
1722, was a botanical draughtsman 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 as
a flower-painter. His unceasing application so in-
jured his health that he fell into a consumption, of
which he died at Vienna, October 5th, 1794.
SCHARNAGEL, Franz Sebastian, painter, born
at Bamberg in 1791, was a pupil of Sensburg, and
afterwards 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, Hubert, an engraver who resided
at Copenhagen, and engraved several portraits
during the latter half of the 17th century, between
1675 and 1694.
Schat'tenhofer
PAINTERS AND ENGRAVERS.
Scheffer
SCHATTENHOPER, Amalie yon, nde Baadek,
burn at Erding, in Bavaria, in 1763, was a pupil of
Doriier, in Munich, where she settled as a painter in
crayons. She also etched. She died at Munich in
1840.
SCHAUBROEK, Pietee, (Schoebkoek,) 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.
Burning of Troy.
Cassel.
Copenhagen
Vienna.
View in a Village,
.^neas and Anchises.
SCHAUPUS, a German painter and etcher, who
flourished at Dresden in the 18th century. He was
a pupil of J. E. Sohonau, 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.
SCHEBOUYEPF, Wassilti KonsMiTSCii, painter,
born at Cronstadt, in 1777, was a pupil of the
St. Petersburg Academy. In 180.3 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 Georq, (Schaedlee,) painter
and etcher, was born at Constance in 1777. He
devoted himself first to miniature painting, but
afterwards took to landscapes in gouache. He
settled at Innsbruck, where he died in 1845.
SGHEDONE. See Schidone.
SCHEDRIN. See Sohtschedbik.
SCHEELE NEEL. See Molbnaer, Coenblis.
SCHEERES, Hendeik Jan, an obscure Dutch
painter, the pupil of Van Hove, was born at the
Hague in 1829, and died in 1864.
SCHEPPER, Aenold, the son of Henri Scheffer,
was born in Paris, and studied under his father
and Picot. Prom 1859 to 1870 he exhibited occa-
sionally at the Salon, chiefly scenes from French
history. In the Museum at Besanjon there is a
' Puneral Procession in honour of the Duke of
Guise,' by him. He died during a visit to Venice,
in 1873, while still young.
SCHEFFER, Aey, painter, born at Dordrecht on
the 12th February, 1795, was the son of Johann
Baptist Sohetfer, an artist of German extraction,
settled in Holland, and practising as court-painter
at Amsterdam ; and of his wife, Coenelia Lamme,
of Dordrecht, also ai\ artist. Ary and his 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 Scheffer, a woman of
nmch energy and strength of character, resolved
to take her three sons to Paris to complete their
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
being ' 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 Prancesca 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. Frangois
d'Assise, 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
ScheSer sought inspiration from the greater poets
and from the Scriptures. Typical examples in both
styles are the 'Beatrice 'and 'Prancesca da Rimini,'
exhibited at the Salon of 1835; and the 'Christ
bearing His Cross,' ' Christ the Consoler,' and ' Ruth
and Naomi.' Like David, Scheffer combined witli
his artistic pursuits an enthusiastic interest in
politics, and was a warm partisan of the Orleans
family. Introduced to them by Gdrard in 1826, he
became drawing-master to the children of Louis
Philippe, and his professional relations with them
soon developed into an affectionate intimacy, the
Princess Marie in particular being greatly attached
to him. In 1830, when the events of the Revolution
placed Louis Philippe on the throne, Scheffer rode
to Neuilly in company with Thiers to tell the Prince
h3 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 Schefier's later manner.
To this belong the works suggested by Goethe's
' Faust,' and many others inspired by the poems of
Byron, Burger, 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
political career he was singularly sincere and
upright in conviction and ain-.s. 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
463
Scheflfer
A BIOGEAPHICAL DICTIONARY OF
Schel
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 16th June, 1858.
The following are among the better examples of his
work ;
F.S.
Lille. Museum.
' The Dead ride fast.'
London, iVai. Gallery.
SS. Augustine and Monica.
Portrait of Mrs.Eobert Holland.
" Nat. Fart. Gall.
Portrait of Charles Dickeus.
Marseilles. Museum.
Mary Magdalen.
Montpellier. „
A Philosopher.
Nantes. „
The Charitable Child.
Paris. Louvre.
Bberbard of Wiirtemberg.
" "
The Death of G^ricault.
The Vow of the Suliot Women.
Eotterdam. Gallery.
Eberhard of ■VYiirtemberg eut-
ti.ig the cloth.
jj
Eberhard mouruiug his son
Ulr:ch.
Three sketches.
Versailles. Gallery.
Gaston de Foix fonnd dead
after Kavenna. 1824.
The Battle of Tolbiac.
») "
Charlemagne dictating his
Ordinances. 1829.
l» »5
Charlemagne receiving the
submission of Wittekind,
1836.
„ „ Philip Augustus entering Paris.
,, „ St. Louis entrusts the Regency
to the Queen.
„ „ The Entry of Charles VII. into
Kheims.
„ „ Entry of Louis XII. into
Genoa.
„ „ Louis Philippe receiving the
1st Begiment of Hus.sars.
Dante and Beatrice. {Mr. Hemming.)
Faust's Vision of Margaret.
Margaret in the Church.
Portraits of Lamartine ; Lamenuais ; Madame Guizot,
senr. ; his Mother ; Charles Gounod ; Franklin ;
Madame Taglioni ; Himself.
SCHEFFER, Hendrik, painter, brother of Ary
Scheifer, 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 Paris 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 LEONHARUSHOPF, 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-
Eeifferscheidt, 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
his return to Vienna he painted a ' St. Cecilia ' for
Prince Albert of Saohsen-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.
464
SCHEFFER, Jean Gabriel, painter, bom at
Geneva in 1797, was a pirpil of Regnault, and prac-
tised for many years in Paris, exhibiting occasion-
ally at the Salon. Among his works there shown
were : ' The Good Samuritim,' ' 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.
SOU EGA, Fbanz Anpreas, die-cutter and en-
giaver, is better known by his medals and portraits
in relief than by his pictures. He was born 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 the
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 Dec. 6, 1787.
SCHEGGIA. See Gdidi, Tommaso.
SCHEIE, Cheis'J'IAn Friedrich, painter, bom at
Worms in 1737, was a pupil of Seekatz, whose style
he copied. After travelling through Prance, he
settled at Hamburg. He painted small pictures
in oils and water-colours, principally fire efiects.
He died in the workhouse at Hamburg in 1810.
SCHEINDEL. See Scheyndel.
SCHEINS, Karl Ludwig, painter, was bom at
Aix-la-Chapelle in 1808. He studied at DUsseldorf
under Schirmer, and painted mostly woodland and
mountain scenes. He died at Diisseldorf in 1879.
SCHEITZ, Andreas, (Scheotz,) 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 born 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 Visscher and others, and published 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 be named :
The Four Seasons, symbolized by the Sports of Children ;
iu fourplates ; M. i!ic}ieit:,fec. 1671.
Two Iiandscapes. with figures danciug.
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 the
school of Diirer. Amongst his woiks was the
decoration of tlie ' Paradise Hall,' in the rojal
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
PAINTERS AND ENGRAVERS.
Schetky
SCHELBER. See Schfxvek.
SCHELDE. See Van j>er Schelde.
SCHELPHOUT, Andreas, landscape painter,
bom 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 the
Hague, He died at the Hague in 1870.- The
Amsterdam Museum possesses a large collection of
his works.
SCHELLENBEEG, Johann Rudolph, 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 Uleich, born at
Winterthur in 1709, was a pupil first of a house-
painter and then of Huber in Berne. He 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.
SGHELLENBBRGER, 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.
SGHELLINCKS, Daniel, the brother of Willem
Schellincks, was bom 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, (Schelungs, Schel-
LiNKS,) was bom at Amsterdam in 1632, and, from
the style of his pictures, is supposed to have been
a scholar of Jan Lingelbach. He travelled through
England, France, Switzerland, and Italy. He
painted landscapes and sea-ports, with figures.
The sunny effect in some of his pictures reminds
us of Karel du Jardin ; his animals are well drawn,
and his groups well composed. On the embark-
ation 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 and 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, Taoo, 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-
dam. He painted the portraits of the founders and
directors of the Batavian Society, and numerous
family pictures. He died in 1837.
SCHELVEB, August Franz, genre and battle
painter, born at Osnaburg in 1805, was first a
pupil of Neelmeyer, and then, with assistance from
VOL. II. h h
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, (Sohonau,) Johann Eleazab. See
Zeisig.
SGHENCK, PiETBR, 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 Valcke,
who afterwards taught him mezzotint, in which
process be engraved a large number of portraits.
In 1683-4 they became partners, and it is difficult
thenceforward to distinguish their numerous pub-
lications from theiractual performances. Augustus
II., Elector of Saxony and King of Poland, named
Sclienck engraver to his court. Schenck died at
Amsterdam about 1716. A long list of his prints
is given by Nagler. There is a good collection in
the British Museum.
SCHENDEL, Bernard, bom at Haarlem in
1634, was a scholar of Hendrik Mommers. He
painted conversations and merry-maldngs, 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, born at Leipsic
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 Tlllemans.
SCHENKEE, S. Nikolaus, engraver, bom at
Geneva in 1760, went in 1779 to Paris, and began
his independent work with some plates after Schall.
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.
SCHERM, LoEENZ, 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, Cornelis, a Flemish decorative
painter, who in the 16th century worked for the
church of S. Gudule at Brussels.
SCHERTL, Joseph, landscape painter, was born
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.
465
Schetky
A BIOGRAPHICAL DICTIONARY OF
Schiavouetti
He was educated for the medical profession, and
was appointed Assistant-Surgeon to tiie 3rd Dra-
goon Guards, and with his regiment joined the
army in the Peninsula. He was attaclied 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 with drawing from nature,
and he sent home 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
Port 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 oflE 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 Addisoombe, 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., William 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
ofi Cape La Hogue ; ' ' The Endymion Frij)ate,
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 row in the National
Gallery. Schetky died in London in 1874.
SCHEUBEL, 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 Sclieubel, born at Bamberg about 1720,
was pupil of Georg Desmar^es, and travelled at the
Bishop's expense through Prance 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 Heinrioh Maurer.
He 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 colouiing. He died at
Munich in 1866.
SCHEUPPBLIN. See Schahfehn.
SCHEVENHUYSEN, 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
460
are filled with figures correctly drawn, and touched
with spirit. He was a contemporary of William
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 fighting.
Ditto, with a Quack-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 costames.
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,
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, Andeea. See Meldolla.
SCHIAVONE, Geegobio, a Dalmatian living in
the 15th century, was a pupil of Squarcione. 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, LncA, a decorative painter, who
flourished at Milan about 1450. He excelled in
designing eiribroidery for ecclesiastics.
SCHIAVONETTI, LniGl, engraver, born at Bas-
sano in 1765, 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 Qiulio Golini, 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
Remaudini. The works of Bartolozzi were then in
vogue at Bassano, and Schiavoinetti 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 Schiavonetti's principal
works :
Events in the life of Louis XVI. ; four plates ; after
Benazech.
The cartoon of Pisa ; after Michel-Angelo Suonarroti.
Portrait of Vandyct, in the character of Paris.
The Mater Dolorosa ; after Vandyck.
Schlavonetti
PAINTERS AND ENGRAVERS.
Scliiffer
The Landing of the British Troops in Egypt ; after
Loutherhtywrg.
A set of etchings for Blair's Grave ; after Blake,
The Canterbury Pilgrimage ; after Stothard.
Dead Christ ; after Vandyck.
Portrait of Berchem ; after Rembrandt.
The Death of General Wolfe, engraved from a gem by
Marchant, in the original unpublished Museum "Wors-
leyanum. There is a copy in the smaller edition.
Death of Virgiuia ; after Tresham.
Marriage at Cana ; after Pellegrim.
Death of Tippo Sahib ; after Singleton.
Queen Elizabeth ; after Westall.
Portrait of the Duke of York ; after Baydell.
Queen of Prussia and her sister ; after Tischbein.
Portrait of W. Blake ; after T. Philips.
Plates in ' The Italian School of Design,' published by
Ottley. Also, in Ckamherlaine's collection of repro-
ductions of Italian drawings ; and ' Specimens of
Ancient Sculpture,' published by the Society of
Dilettanti.
SCHIAVONETTI, Niccolo, was the younger
brother of Luigi Schiavonetti, and executed some
plates in the style of that artist, though he worked
chiefly in conjunction with him, helping him espe-
cially in the ' Tippo Sahib ' and the ' Canterbury
Pilgrims.' He did not long survive his brother,
but died in London in 1813.
SCHIAVONI, Felice, a painter, born at Trieste
in 1803, was a son and pupil of Natale Schiavoni,
whom he followed to Vienna and Milan. He
settled at Venice in 1830, where he painted historical
and mythological suI)jeot=!. 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 bom 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 tine ' Magdalene,'
now in the Belvedere, at Vienna. He painted
many 'Bathing Venuses,' in which he could display
his skill in the nude ; he made a copy of Titian's
' Assumption,' now in Russia ; and produced with
the help of his sons a large ' 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'oeuvre. 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. 'Tlie Sacrifice of Noah,'
' David playing 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 hirn in the Wallraf-Richartz
Mnseum, Cologne. He excelled in portraiture, and
painted- several members of the Humboldt family,
H H 3
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 Stiittgart in
1812.
SCHIDONE, (ScHEDONE,) Bartolommeo, painter,
was bom at Modena in 1560. Although he is
generally allowed to have been brought up under
the Carracei, 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
Ranucoio took him under his protection. He
painted several pictures for his patron, and these,
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 Palace. Holy Family.
„ JJfflzi, HolyFamily.
Glasgow. Gallery. Cupid with an Hour-glass.
London. Bridy^^aUr | ^he Virgin teaching Christ.
Modena. Cathedral. St. Gemignano.
„ Municipio. Coriolanus and his mother. .
„ Gallery. St. Jerome.
„ „ St. John the Baptist.
„ „ The Dinner at Simon's House.
Naples. Museum. The Holy Family.
„ „ Charity.
„ „ St. Sebastian succoured by St.
Irene.
„ „ The Tribute-money.
,, „ Christ presented to the People.
„ „ The Massacre of the Innocents.
» „ Cupid.
n „ Several Portraits.
Paris. Louvre. Holy Family.
„ „ Christ borne to the Tomb.
„ „ The Entombment.
Parma. Museum. The Last Supper.
„ „ A Pieta.
Venice. Academy,,: Descent from the Cross.
Vienna. Belvedere. The Disciples at Emmaus.
„ „ The Entombment.
SCHIERTZ, August Ferdinand, painter, born at
Leipsio in 1804, began in 1880 to study art, aijd
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, born at Munich
in 1775, was a pupil of Mettenleiter. He drew
caricatures and engraved vignettes for books. He
died in 1820.
SCHIFFER, 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
467
Schilbaoli
A BIOGRAPHICAL DICTIONARY OF
Schirm^t
Panorama,' and 'View of the Muhlsturzlior'ner,
near Berchtesgaden ; ' ' View from the Sohafberg,
near Isehl ; ' ' View of the Sohueeberg, in Lower
Austria.' He died in 1876.
SCHILBACH, J — Heinrich, landscape painter,
was born at Barohfeld in 1798. He studied at
Darmstadt, and, in. 182.S 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 Thorwaldsen Museum at Copenhagen. He has
left a considerable number of etchings.
SCHILCHER, ANa'ON 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 BABINBERG, Johann, an early
German painter, a native of Oppenheim. He was
a contemporary of ' Master Wilhelm,' and about
1382 was engaged to paint the high altar of
Frankfort cathedral.
SCHILDKROTE (The Turtle). See Danks.
SCHILGEN, Philipp Anton, painter, born at
Osnaburgh in 1793, studied at Dilsseldorf under
Cornelius, with whom he went to Munich in 1825.
He executed some scenes from the Tragedies of
^schylus, in the Palace, after drawings by Schwan-
thaler. In the Munich 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 1806, was educated for
the legal profession, but afterwards devoted him-
self to art, which he studied at Munich, and made
the beauties of the Bavarian highlands his theme.
He died at Munich in 1852.
SCHILLING, Geoea, born 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 16th century, known by a
rhymed paraphrase of the Bible in 50,000 verses,
■which he enriched with 516 grotesquely designed
but finely coloured miniatures. He was a native
of Hagenau.
SCHILT, Louis PiEEEE, 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 Sohilt 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-
468
tion of Paul DelarooTie. 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
studying art at Munich, came out as a portrait
painter. He worked at the Loggie of the Old Pina-
oothek after Cornelius' designs. Most of his works
are in the Villa Rosenstein, near Stiittgart. He
died at Munich in 1852.
SCHINDLER, Albeet, born at Bngelsberg, in
Silesia, August 19, 1805, studied under Pendi 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, 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 Feiedrich, 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 Berlin, October 9, 1841. In the
National Gallery of Berlin there are seventeen of
his pictures.
SCHINNA6L, Max Joseph, born at Burghausen,
in Bavaria, in 1694, was a pupil of his step-father,
Joseph Kammgrloher. He painted wild scenery,
with figures by Janneck and Aigen. The galleries
at Vienna and Aug.sburg possess pictures by him.
He died at Vienna in 1761.
SCHINZ, Johann Georg, painter, born at Zurich
in 1794, was a pupil of Gessner, and painted
Swiss landscapes. He died in 1845.
SCHINZ, Johann Kaspak, born at Zurich in
1798, painted biblical pictures. He died in 1832.
SCHIOPPI. See Alabardi.
SCHIRMER, Feiedrich 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 1860 painted the walls of the Egyptian
Scliirmer
PAINTERS AND ENGRAVERS.
Schlotterbeck
and Grecian divisions in the Berlin New Museum.
In 1863 he again went to Italy, though he was
sufiEering 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, 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 througli 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 in a German Forest.
The Convent of S. Scholastica in the Sabine Mountains.
Abraham's Entry into the Promised Land.
The Promise in the Grove of Mamre.
Abraham's Intercession for 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 Isaae.
Abraham and Isaac's lamentation for Sarah.
Eliezer and Rebekah at the Well.
Burial of Abraham.
.. SCniTZ, Jules, landscape painter, born in Paris
February 9, 1817, was a pupil of Eemont. He
exhibited frequently at the Salon between 1840
and the time of his death in 1871, He was Director
of the Municipal Drawing School at Troyes.
SCHIVENOGLIA, Lo. See Rainieei,
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.
SCHKUHR, Christian, draughtsman and etcher,
was bom at Pegau, iii 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, August, painter and etcher, born
at Munich in 1814, principallj' devoted himself to
drawing animals. He died at Munich in 1865.
SCHLEICH, Eduakd, 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. iV. Pinakothek, Landscape — Isar and Bavarian
Alps.
„ A ChalSt.
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,
find ' 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 Batisbou,
A View of Munich.
Twelve Landscapes; after Wayenbaur, 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.
Munich. New Pina- ) The Coppersmith and his
kothek. j 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, Jakob, painter, born at Grun-
stadt in 1793, learned the first principles of art
from his father, Johann Sohlesinger, 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 Sixtine 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. Ho died at Berlin in 1855. There
is a tracing by him from the Sixtine Madonna in
the London National Gallery,
SCHLEY, Van der. See Van der Schley.
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 arcliitect as well
as an engraver ; he studied perspective under L.
Quaglio, and was a professor in the Academy of
Diisseldorf, He died in 1826, Among his plates,
we may name :
A Storm and Shipwreck ; after Fernet.
A Calm ; after the same.
A Landscape, with cattle ; after A. Vanievelde.
A Landscape, with figures and animals ; after Beryliem.
A Landscape ; after Pynaker.
Several architectural Views; after Bibiena, Pannini,
and ethers.
SCHLICHTEN, J, P. van dee. See Van der
Schlichten.
SCHLOEPKE, Theodob, 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 1856 to 1857 he painted at Paris,
under the auspices of H. Vernet, his one great his-
torical picture, the ' Death of Niolot.' 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 Wiirtemberg, in 1765. He was the
469
ScUotterbeck
A BIOGRAPHICAL DICTIONARY OF
Schmidt
son o£ 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. MiLller.
In 1785 lie 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 Schubart, 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
and Pollux, Minerva, Mercury, and Diana, from
the antique, also some frontispieces and vignettes.
He died about 1812.
SCHLOTTEKBECK, Wilhelm Fkiedmoh, 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 his success made that art
popular in Germany. He engraved many large
plates after Claude, Both, P. Hackert, and his own
drawings. He joined the Chalcographic Institution
at Dessau in 1798, where he engraved the four fine
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.
SGHLOTTHAUBR, Joseph, painter, born at
Munich in 1789, was first a carpenter, though he
devoted his leisure hours to drawiiig. Having
finished several preparatory works, he was received
as a pupil of the Academy, but a few months after
the War of Dehveranoe in the Tyrol broke out, and
Scblotthauer enlisted in a corps of volunteer sharp-
shooters. When the war was over he returned
to his 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
orthopoedic treatment, for the purposes of which
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-
chrom^'. It was used by Kaulbach in his frescoes
for the Berlin Museum. His ' Christ crowned with
Thorns ' is his 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. Schraudolph, and J. A. Fischer. He died at
Munich in 1869.
SCHLOTTHAUER, Karl, painter, was bora at
Munich in 1803. He was the pupil of his uncle,
Joseph Scblotthauer, and painted landscapes, chiefly
from the Bavarian Alps. He was a professor in
the Art School of Lindau.
SCHMEIDLER, Karl Gottlob, portrait painter,
born 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 BreslaUj and painted portraits, among which
470
were those of General Bennigsen and his wife, and
of some members of the Prussian Royal Family.
He died at Breslau in 1838.
SCHMELLEK, 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 Bree,
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 [jersons 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 Petter. 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, w^as
established in Amsterdam in 1804.
SCHMID, Karl August, painter, born at Nen-
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 botany. He travelled through the Tyrol, Salz-
burg, and Upper Italy, 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, bom 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, Eduahd, painter, a native of Berlin,
was a pupil of Blechen, and painted chiefly sea-
pieces, from tlje 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.
Schmidt
PAINTEHS AND ENGRAVERS.
Schmutzer
The Empress Elizabeth of Russia ; after L. Tocque.
Michael, Count de Woronzow ; after the same.
Count Nicholas Esterhazi ; after the same.
Fred. Hen. Louis, Prince of Prussia ; after A . Vanloo.
Jean Paul Eignon, Abb^ de St. Quentin ; after Riyaud.
Constantine Scarlati, Prince of Moldavia.
Ch. Gabriel de Caylus, Bishop of Auxerre ; after Fontaine.
Louis de la Tour d'Auvergae, Count d'Evreux ; after
Uiqaud.
Ch. de St. Albin, Archbishop of Cambray ; after the same.
Pierre Mignard ; after the same.
Antoine Pesae ; after a picture hy himself.
Maurice Queutin de la Tour ; after the same.
The Virgin and Child, with St. John ; after Vandyclc.
The Presentation in the Temple ; q/ifei- Pietro Testa.
Alexander and his Phy.>,iciau ; after Ann. Carracci.
A Bust of the Virgin ; after Sassoferrato.
Dutch Boors regaling; after A. Ostade.
ETCHINGS IN THE STYLE OF EBMBKANDT.
His own Portrait, drawing.
The Portrait of Rembrandt ; after a picture hy himself.
The Raising of Jairus's Daughter ; after Bemhrandt.
The Presentation in the Temple ; after Dietricy.
Lot and his Daughters ; after Rembrandt.
The Mother of Rembrandt ; after the same.
SCHMIDT, Heinrich, painter, born at Saar-
briick in 1740 (17G0), 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 Feiedrich Thomas, painter
and engraver, born at Berlin in 1780. He practised
first at Leipsio, 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
Hujsum, and subsequently became a scholar of J.
M. Qiiinkhardt, with wliom 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 miigic. He wrote
some comedies, and translated ii ' Life of Rubens.'
He was one of the founders of the drawing academy
at Amsterdam in 1769, 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, amonj; them a series
of fifty portraits of theologians.
SCHMIDT, Johann Heinrich, painter, was born
at Hildburghausen in 1749. He studied at Leipsio,
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 Saxoiy, now in the Dresden
Gallery. He died at Dresden in 1829.
SCHMIDT, Martin Joachim, painter and en-
graver, was born at Grafenworth, near Krems, in
1718. He etched a number of altar-pieces and
mythological subjects, in the Tnanner of Rembrandt
and Castiglione. He died in Krems in 1801. There
are some examples of bis work in the Vienna
Academy.
SCHMIDT, Mathias, painter and engraver, born
at Mannheim in 1749, painted landscapes, and
copied the etchings of Karel Dujardin, Adriaan
van de Velde, Jan Fyt, &o. He also etched a
number of plates after original drawings by Ferdin-
and Kobell and Rembrandt. He died at Munich in
1823.
SCHMIDT, Oi.E JfJEGEN, 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 Heroulaneum, 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
tlie buried cities. He died at Hamburg, February
27, 1848.
SCHMIDT, WiLLEM Hendeik, 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 his art. He died in 1849.
SCHMITHS, Heinrich N., (Schmitz,) engraver,
born at Kaisersworth, 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 Rubens.
Our Lord and St. John ; after Scarsellirw.
Christ and the Magdalene ; after Baroccio.
SCHMITSON, Tedtwaet, born at Frankfort in
1830, a self-taught artist, was the son of an Austrian
officer. He painted his first large picture in Diis-
seldorf. 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 Regensperg, in the canton of Zurich, in 1670.
He was a scholar of Mathias Puessli, 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.
SCHMUTZER, 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 Scsevola before Porsenna ; after Rubens.
St. Gregory repulsing Theodosius ; after the same.
Venus rising from the Sea ; after the same.
Neptune and Thetis ; a;fter the same.
Wolf Hunt ; after Syiyders.
Portraits of Prinoa Kaunitz ; after Tocque, Steiner, and
llaijenauer.
The ^Impress Maria Theresa ; after Du Creux.
(And several other Imperial portraits.)
SCHMUTZER, Johann Adam, the eldest son of
Jakob Matthias Schmutzer, born about 1700 at
471
Schmutzer
A BIOGRAPHICAL DICTIONAEY OF Schnorr von Karolsfeld
Vienna, and died in 1739, was an engraver of little
ability.
SCHMQTZER, 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 Charles VI. ; after Mei/tens.
The Empress Elizabeth Christian ; after Auerhach.
Questenberg ; after Seyhold.
Two Views of a Temple ; after G. Galli BiUena.
Three subjects from the History of Declus ; after the
pictures by Rubens in the Liechtenstein Gallery.
SCHMUTZER, Joseph, a painter, born at Vienna
in 1806, was a pupil of the Academy and an ex-
cellent lithographer after the works of the old
Germa.n masters. He died in 1837.
SUHNAPHAN, 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 wliich he was painter. He died in 1691.
SGHNATZLER, Johann Uleigh, 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.
SCHNEBBBLIE, 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
appoiuted 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, Robert Brbmmel Schnbbbelie, 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, Johann Kaspar, painter, born at
Mayence in 1753, was a pupil of Heideloff, 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
1758 he was a member of the Pictura Society,
at the Hague, but afterwards migrated thence to
Amsterdam. He painted landscapes with birds
and game.
SCHNELL, Feiedrich, 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 ^'isited England about 1720, and died at
Bristol.
SCHNELLBOTZ, Gabriel, (Sohnellboltz,
Schnellholtz,) engraver, is said by some to
have been born at Merseburg, by others at Wit-
tenberg, in 1536. 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 rebus of his name.
472
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 1826 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 1862 he resided in Paris, but went
to Rome again, returning in 1866 to Paris, and dying
there in 1870. Works :
Conde at the Battle of Senef. (^Versailles.)
Conde at Rocroi. {Do.)
The Battle of Ascalon. (Do.)
Several portraits. {Do.)
Esther and Mordecai. (Arras.)
Funeral in the Roman Catacombs. {Nantes.)
Ceiling of the ' Septieme Salle,' in the Louvre.
SCHNITZER, John, 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, rudely cut. It is inscribed, Insculptum est
per Johannem Schnitzer de Arnsheim.
SCHNITZLER, J. Michael, painter, bom 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
Stiittgart, 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. Nat. Gallery. Partridges on a Table.
Munich. New Pinakothek. Hawk killing a Dove.
„ „ Three pictures of Dead 'Wild-
fowl.
SCHNIZER, Joseph von, painter, bom 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 Wurtem-
berg, among which were the 'Storming of Sens'
and the ' Battle of Montereau.' He died at Stutt-
gart in 1870.
SCHNORR VON KAROLSFELD, Johann (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 np 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,
first studied under his father, Hans Veit Schnorr,
but in 1811 went to the Academy at Vienna, and
in 1817 to Italy. He associated in Florence with
Rumohr, proceeding afterwards to Rome, where he
joined Cornelius, Overbeck, Veit, and Koch, and
formed 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 lie was in-
Schnorr von Earolsfeld
PAINTERS AND ENtiBAVERS.
Sclionfeldt
vited to Munich, but before returning to Germany
he visited Sicily. In 1827 he went to Munich,
where he became professor in tlie Academy, and
decorated the ' Konigsbau ' with scenes from the
' Niebelungen Lied.' In 1835 he accepted a com-
mission to paint scenes from the history of Charle-
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 :
Berliu. Nat. Gallery. Siegfried returning from the
Saxou War. {Cartoon.)
„ „ Laying out the dead in Btzel's
Palace. (Do.)
Dresden. Gallery. Visit of Ananias to Paul.
(Cartoon for St. Paul's,
London.)
„ „ Visit of Zacharias, Elizabeth,
and St. John to the Holy
Family.
Munich. Pinakothek. Hagen and Dankwart refuse to
greet Chrimhild.
SCHNORR VON KAROLSFELD, Ludwig 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 Fiiger, 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.
SCHODLBERGEE, Johann Nepomuok, painter,
born at Vienna in 1779, was a pupil of the Institute
in Vienna, and painted and etched landscapes,
most of them witli figures, such as, ' A View of the
Traunfall,' ' The Waterfall, at Tiroh,' ' The Interior
of an Italian Church,' ' An ideal Landscape.' He
died at Vienna in 1863.
SCHOEMACKER-DOYER, Jakob, painter, was
born 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.
SCHOBNMACKERS.Jan Pietebsz, orPiETERSZ
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. 0. Schotel,
and a similar work is in the Amsterdam Museum,
Schoenmackers died in 1842.
SCHOEVAERDTS, (or Schovaeets,) 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 de la FSte Hollandaise.'
There are two village scenes by hira in the gallery
of the Louvre. He has been sometimes confounded
with Christopher Soliwartz.
SCHON, Bartel. See Schongaubb.
SCHON, Erhardt, a German painter, who
flourished from about 1516 to 1560. He resided
chiefly at Nuremberg, where he published, in 1538,
a treatise on the proportions of the human figure
for the use of students. He was also an engraver
on wood, and marked his prints with a monogram
composed of an E. and an S. with a small knife
under, thus.
Among the thirty-three wood-
cuts attributed to him by Bartsch, there is one
with his mark and the date 1524.
SCHON, FfiiEDBiCH WiLHELM, painter, born at
Worms in 1810, studied at Darmstadt and Munich.
Ho painted social subjects, and lamp and tire-light
scenes, such as — ' The reading Maiden,' ' Going to
Church in the Bernese Oberland,' 'Return hom^ of
the Soldier,' ' South German Emigrants in a Nortli
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, Ludwig. See Schongaueb.
SCHON, Martin. See Sohongauer.
SCHONBERGER, Lokenz, painter, was born at
Voslau, near Vienna. He was a pupil of the
Vienna Academy under Wulki. 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, Kabl, painter, born at
Vienna in 1832, a pupil of the Academy under
Fiihrich, 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.
SCHONER, GusTAV Friedrioh Adolph, painter,
born at Massbach, near Schweinfurt, in 1774, was
first a pupil of Konrad Geiger in Schweinfurt, then
of GrafI: 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 Guide, 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 1846.
SCHONFELDT, Johann Heinrich, (Sohenfeld,)
painter, was born at Biberaoh in 1609, and was a
scholar of Johann Sichelbein. He visited the
principal cities in Germany, and hrtd 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 Ihe
473
Schougauer
A BIOGRAPHICAL DICTIONARY OF
Schongauet
Palazzo Orsini. On Lis return to Germany lie
practised as an liistorical painter at Vienna, Munich,
Salzburg, Augsburg, and other cities. Among his
better worlds are his pictures of ' Christ on the way
to Calvary,' and the ' Descent from the Cross,' in
the church of the lioly 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 have a few slight etchings by Schonfeldt, among
which are the following :
A Head of our Saviour.
A pa.storal subject, with a Shepherd playing on a flute,
and a Shepherdess holding a triangle.
A Landscape, with a Man sitting on a rock.
A Bacchanal witli children.
SCHONGAUER (or SCHON), Bartel, engraver,
is supposed to have flourished at Ulm about 1479.
According to some he was the brotlier 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 ^ and an S. in the old German character, with
a cross between them, thus, "nOCo* "^^^^ ^°''
lowing plates by him may be named :
1. Christ on the Mount of Olives ; a copy from one of
M. Schongauer' s ' Passion ' series,
2. The Bearing of the Cross ; ditto.
3. The Two Lovers (reversed from the plates of Israel
van Meckenen and the Master W. ).
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 fanailies of Eohrbach and
Holzhauseu.
10. A Family of Monkeys.
11. A "Wild Man amid ornamental foliage.
12. Ornamental Foliage.
(All these except No. 5 are in the British Museum).
For fuller information as to this master see
Naum,ann's Archiv., Zweiter Jahrgavg, § 168.
SCHONGAUER (or SCHON), Martin, painter
and engraver, was born at Colmar, probably be-
tween 144.5 and 1450. His parents were natives
of Augsburg, as we gather from a note written by
Hans Burgkmair on the back of Schongauer's
portrait in the Munich Gallery. Caspar Schon-
gauer, the father of Martin, was received into the
freedom of Colmar in 1445. Martin's first master
was his father, whose trade was that of a gold-
smith ; he afterwards seems to have visited Flanders
and studied under Roger van der "Weyden, for
Lambert Lombard, in a letter to Vasari, says that
" he (Martin) remained faithful to the style of his
master, Eogier." Roger died in 1464. Martin
probably settled in Colmar about 1465. His earliest
plates date from about 1465, when he probably
became free of his craft. In the British Museum
tliere are two drawings assigned to him with the
date 1469 ; they are in his mature style. In 1473
he painted the ' Virgin of the Rose Garden,' at
Colmar, the only picture which can be traced to his
hand, although there seems to be no good reason to
doubt his authorship of the ' Death of the Virgin,'
in t)ie National Gallery. Many pictures from his
hottega are preserved in the Colmar Gallery. In
spite of his short life he won a great name among
his contemporaries, who called him ' Hubsch Mar-
tin,' or ' Martin the Beautiful.' He died at Colmar
in 1488. He used his well-known monogram, an
474
M and an S with a sort of eccentric cross between
them, on his plates, but left his pictures unsigned.
Of pictures assigned to him in various collections
we may name :
Basle. Museum. St. Joachim.
Brussels. Museum. Ecce Homo.
Colmar. Ch.ofSt. | ^^^ y.^^^ .^ ^^^ Eose-garden.
„ Ciit/ Gallery. Christ on the Cross.
„ „ St. George on Horse-back.
„ „ St. John Baptist and St. John
the Evangelist.
„ „ Martyrdom of St. George.
„ „ Scenes from the Passion.
London. Nat. Gal. Death of tlie Virgin.
Munich. Finakothek. Portrait of himself (copy).
,, „ The "7"irgin. (?)
Palermo. Coll. of Duke ) * -vr j.. -i.
of Tarsia, j^ Nativity.
Vienna. Belvedere. A Holy Family.
Schongauer's plates from hia own compositions
are numerous ; the following are perhaps the best :
1. The Angel of the Annunciation.
2. ' Ecce Ancilla Domini.'
3. The Angelic Salutation.
M. The Nativity.
5. The Small Nativity.
6. The Adoration of tlie Kings.
•?. The Flight into Egypt.
8. The Baptism of Christ.
9-20. A * Passion ' series of twelve plates.
21. The large Bearing 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.
25. The ' Large Christ 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 Apocalypse.
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 Saviour 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.
SchSninger
PAINTERS AND ENGRAVERS.
Schoorel
82. Man with an Ass and its Foal.
83. Two Armed Pedestrians conversing (?).
84. Two Youths quarrelling.
85. Elephant with Howdah (f).
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 P:istoral staff.
91. A Censer.
02. A Monstrance.
93-102. Ten Plates of Ornamental Foliage.
(All these, with the exception of Nos. 26, 60, 80, 96,
97, 101, and 102, are in the British Museum.)
For the fullest information on this artist, see
'Martin Sohongauer,' by Alfred von Wurzbach.
Vienna, 1880.
SCHONINGER, Leo, born at Weil in Wiirtem-
berg 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 known
principally by pictures painted for various churches,
at Trieste and Vienna. He was a member of the
Vienna Academy.
SCHOOCK, or SCHOOK, Hbndmk, the son of
GlSBERT ScHOOCK, a painter of Bommel, born at
Utrecht about 1670. He paiuted flowers and fruit.
SCHOOF, Gerhardt, 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 Sohoof, 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 16lh
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 bis pupils.
SCHOONEBECK, Adriaan, a Dutch engraver,
was born 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, Anthonib, 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
in search of improvement. During a residence of
ten years at Rome he distinguished himself by an
exemplary application to his studies, and painted
sonje 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 I
England induced him to request leave of absence, and
he came to this country in the 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 1666,
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 him of Charles II. of
Spain, painted when 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.
SCHOOREL, Jan van, (Scorel, Scoreel,) painter,
was bom at Schoorel, a smalltown near Alkmaar, in
1495. At the age of fourteen he was placed for three
years under the tuition of an obscure artist, named
Willem Cornelisz, in Haarlem. In 1512 lie went
to Amsterdam, where he became a disciple of Jakob
Cornelisz. The reputation of Mabuse, who was
at that time in the service of the Duke of Burgundy,
induced Schoorel to visit Utrecht. He afterwards
travelled through Germany, and passed some time
at Spires, and at Nuremberg, where he resided with
Albrecht Diirer, who treated him with great kind-
ness. His next journey was to Venice, where he
found a number of people assembled for a pilgrim-
age 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 whom
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 ' Incredulity of St. Thomas ' ; and in 1520 em-
barked for 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 stayed three
years, and was employed by the Pope, Adrian VI.,
who was his fellow-countryman. He painted a
whole-length portrait of the Pope, which was sent
to the college of Louvain, which had been founded
by his Holiness. On his return to Holland, Schoorel
established himself at Utrecht, and was much em-
ployed by the noble family of Lochorst, for whom
he painted one of his best pictures, ' Christ's Entry
into Jerusalem,' which was placed in their chapel
in the great church. For the monastery of St.
John, at Haarlem, he painted a ' Baptism of Christ,'
in which he imitated Raphael. Many of the prin-
cipal works of Schoorel were destroyed during the
troubles in the Low Countries. He must be looked
upon as one of the first causes of the great art move-
ment of the 17th century in the Netherlands. He
died at Utrecht in 1562. Most of the pictures com-
monly ascribed to him are of doubtful authenticity.
The following may be named with confidence :
Amsterdam. B. Museum. A Magdalen.
Bonn. Museum. The Crucifixion; signed and
dated 1530.
Dresden. Gallery. David conquering Goliath
(given in catalogue to Brou-
ziuo),
475
Schooteu
A BIOGRAPHICAL DICTIONARY OF
Scliotel
Haarlem.
Hampton Court.
London. N'at. Gall.
Carinthia. [ ^''"™''-
Rome.
Rotterdam.
Utrecht.
Museum, Adam and Eve.
Baptism of Christ.
Virgin and Child.
A Riposo.
Portrait of a Lady.
f Altar-piece with wings ; signed
\ and dated 150O.
Fal. Horia. Portrait of Agatha van Schoen-
hoven. 1529.
Portrait of a Boy.
A Madonna.
Four Portraits, one of himself.
A Series of Pictures in tempera.
Warmenhui- \
zen, near S Church.
Alkmaar. )
SCHOOTEN, Frans van, was an amateur painter
of fruit and flowers, who practised at Leyden in the
17tli 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 Fr^d^ric Moucheron.
SCHOOTEN, JoEis van, was bom 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 tlie 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 Innspruck. 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 Scliaufelin and
A. Diirer. 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
1610. He signed his works with his initials and a
ronghly-drawn spoon.
SCHOPIN, Heney Fri^diSmc, painter, was born
at Lubeck, of French parents, in 1804. He studied
in Paris under Gros, and gained the ' prix de Rome '
in 18.30. 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 Hohenlinden.
Jacob and Laban.
Portrait of Cambac&es.
., ,, Portrait of Marshal Eidal.
476
Douai.
Museum.
Metz.
J,
Toulouse.
"
Versailles.
Versailles. Museum. The Taking of Antioch in 1096.
And a series of pictures illus-
trating the legend of St. Sa-
tnrniuus for the chapel of the
saint at Fontaiuebleau.
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 1826 he painted
foi- his reception picture at the Berlin Academy a
'Death of Frederick William III.,' 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 his
larger works. Among his most successful portraits
are those of the Duchess of Orleans and of the
Count and Countess von Amim.
SCHORN, Karl, bom at Dusseldorf in 1800,
studied at Munich under Cornelius, from 1824 to
1827 in Paris under Gros and Ingres, and from 18;I2
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 Ho£-garten. In 1847 he was elected
professor of the Munich Academy, which post he
held till his death, which took place at Munich in
1850. Works :
Card-players.
Pope Paul III. before Luther's
Portrait.
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 Slwrpp, maelerzu 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 Schorqitens,
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 Schotel, was born at Dordrecht in 1818.
She was taught by her father and by her brother
Petrus, and painted flowers, fruit, and still-life.
She died at Aardenburg in 1854.
SCHOTEL, Johann Christianus, 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
Berlin. National Gallery.
Munich. JV. Pinakothek.
Schotel
PAINTERS AND ENGRAVERS.
Schroder
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 2l8t of December, 1838.
SCHOTEL, Peteus Johann, bom at Dort in 1808,
a son and pupil of Johann Christianus Schotel, in
whose fooisteps he followed. His best picture is
'The Anchorage near Texel in stormy weather.'
He died at Dresden in 1866.
SCHOTT, August, born at Giessen in 1811,
studied first under Diicor^e, and afterwards at the
Stadei Institute, in Frankfort, and at the Munich
Academy. He made several pencil drawings, and
painted small historical pictures, but afterwaids
became a follower of Overbeck and Steirile, 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 some
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
titne engraved on crystal. His rather poor mezzo-
tints are after Gerard Dou, Schalcken, Paul Potter,
Trans Hals, &c. He resided constantly at the
Hague, where he died in 1792.
SCHODMAN, Mabtinus, marine painter, born at
Dort in 1770, first studied under Versteeg, and then
under his uncle, Aart Sohouman. 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.
SCHOYBN, C., a Norwegian landscape painter,
who studied under Eckersburg and Yude, and
practised in Germany. He died while still young
in 1870.
SCHRAMM, Johann Heinrioh, bom 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, bom at Sulzbach,
in Bavaria, in 1772, was first a gold worker, and
then went to Munich 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.
SCHKAUDOLPH, 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
j)ictufes we may name :
Unnich. Finakothek. St. Agnes with the lamb.
„ „ The Virgin and Child.
„ „ linth and Naomi.
„ „ The Ascension of Christ.
„ „ The Miraculous Draught of
Fishes.
„ „ Adoration of the Kings.
„ „ Worship of the Virgin.
Munich. Finakothek. Christ healing the Sick.
„ „ Christ nailed to the Cross.
SCHREIBER, MoEnz, was working at Leipsic
from 1539 to 1556, in collaboration with one
Hhinmch 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 Albreoht,
draughtsman and painter, bom at Maestricht in
177.S, 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
Griissi, 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.
SCHRIECK, Otto Marcellis van. called Sndf-
felaisr, 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 distinguished 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.
There is a good example of his art in the National
Gallery. He died at Amsterdam in 1673.
SCHRODER, Friedrich, 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 Bemmel, 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 Tosclfi.
SCHRODER, Georq 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 several members of the Royal Family.
On his return he painted a portrait of Frederick
William 11., King of Prussia. He died at Meinin-
gen in 1812.
SCHRO DER, Karl, painter, was born at Bruns-
wick in 1802. Prom 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, bom 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 :
477
Schrfidter
A BIOGRAPHICAL DICTIONABY OF
Schulz
Abraham's Sacrifice ; after Lievens,
The Marriage Contract ; after Jan Steen.
The Young Man in the Cloak ; after Eoninch.
Young "Woman of Salzburg ; after Peayie.
He etched a few plates.
SCHRODTER, Adolf, born in Schwedt in 1805.
In 1820 he entered the studio of Professor Buck-
bom, the engraver ; in 1829 he went to Diisseldorf,
and studied under W. von Sohadow ; 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.
SCHROTER, JoHANN Pbiedmoh, engraver, born
at Leipsic in 1770, was a pupil of Bauee. In 1813
be 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 Friedeioh KaelKonstan-
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 Poohrnann.
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, wliere 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.
SGHTSCHEDRIN , Semen Fedoeowitscii,
painter, a native of St. Petersburg, who after study-
ing at the Academy went to Ital}', and on his re-
turn became painter to Catherine II. He painted
Italian landscapes. He died in 1804.
SGHTSCHEDRIN, Silvester Fedorowitsoh,
painter, born at SL 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.
SCHUBART, CHRiSTOPnER, 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.
SCHUBART, PiETER, (Schubert,) was a native
of Germany, 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, 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. 6. J., a German engraver, who
resided at Nuremberg about the year 1626. He
was chiefly employed in engraving portraits for the
booksellers, which are very indifferently executed.
He engraved part of the plates for a work entitled
478
'Icones Bibliopolarum et Typographorum,' pub-
lished at Aldorf and Nuremberg in 1626.
SCHUCHLIN, Hans, painter, flourished at Ulra
in the 15th century, was a contemporary of Martin
Schongauer, and seems to have come, like him,
under the influence of Roger van der Weyden.
His best works are his altar pictures at Tief enbronn,
near Calw, in Wurtemberg, inscribed, Gemacht zu
Ulra vo Hansisse Schiichlin Maler, MCCCC.LXIX.
The drawings for the wood-cuts in the Ulm Bible
of 1470 are ascribed to him. He has been con-
fused with the painter called by Eisenraann the
Master of Sigmaringen, the author of an altar-piece
in the possession of the Prince of Hohenzollem-
Sigmaringen, in whose catalogue it is ascribed to
one ''Schiihlein."
SCHULER, Charles Louis, engraver, bom at
Strasburg in 1784-5, studied in Paris, and worked
first at Strasburg, engraving small plates for
almanacks, and other fugitive publications. He
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, Edouard,
also practised as an engraver at Strasburg.
SCHULER, Theophil, bom at Strasburg in 1821,
studied in Paris and Munich. He was a pupil of
Drolling and Paul Delaroche. In 1848 he executed
the illustrations for Arnold's 'Whit Monday,' and
at the same time painted for the Museum at Colraar
his great allegory ' The Chariot of Death.' He
made many pencil drawings for the illustrated
magazines, and for the works of Jules Verne,
Victor Hugo, and ' Erckmann-Chatrian.' He died
in 1878.
SCHULTEN, Arnold, a landscape painter of
the Diisseldorf 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 bom 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
Nencha,lel, and taught drawing at the municipal
school.
SCHULTZ, Daniel (Sohultz), painter and
etcher, born at Dantzio about 1620, studied in Paris
and Breslau, and painted many portraits. Three
etchings of animals are assigned to Schultz. He
died in 1686.
SCHULTZ, JoHANN Karl, architectural and
landscape painter, born atDantzicin 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
be was appointed Professor of Drawing and Director
to the Art School at Dantzio. He etched several
plates. He died at Dantzic in 1873.
SCHULTZE, Franziska, 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 Friedrich, genre and landscape
painter, born at Selohow in 1796, was the son of a
Schulz
PAINTERS AND ENGRAVERS.
Schunuann
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 IBerlin Museum. For a tihort
time he was a teacher at the Berlin Academy.
His ' Cuxhaven,' ' Storm at Cahiis,' and 'Poachers,'
are in the Berlin National Gallery. He was called
'Jagd Sohulz,' from his hunting pictures. He
died in 1866.
SOHULZ, 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.
SCHULZE, Christian Gottfried, was. born at
Dresden in 1749, and learned the rudiments of de-
sign from Charles Rutin. After being tauglit en-
graving by Giuseppe Caraerata, 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 Georg Christian,
painter, born at Doberan in 1797. After receiving
some slight instruction from Suhrlandt, he studied
at Dresden and in Ita!y. 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
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 Huysdael,
A View in Saxony ; after Klengel.
Two Landscapes with animals ; after the same.
A Landscape, Morning; after Both; engraved conjointly
with W. Byrne.
A View of Windsor Castle ; after Hodges ; the same.
Scene from Oberon ; after Koch.
He died at Dresden in 1810.
SCHUMANN, Karl Franz Jakob, painter, born
at Berlin in 1767, studied first under Frisoh, 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.
SCHUPPEN, H. VAN. This name (or its mono-
gram, H. V. S., the H and V joined, the S on the
bar of H) appears on landscapes engraved after
Giovanni Maggi.
SCHUPPEN, Jakob van, (ScnpPEN,) born in
Paris in 1670, son of Pieter van Schuppen, studied
under Largillifere, 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. There are portraits by
him in the Belvedere at Vienna, the Museum at
Amsterdam, and the Liechtenstein Gallery. He
died in Vienna in 1751.
SCHUPPEN, Pieter van, a Flemish designer
and engraver, was born at Antwerp in 1623. 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 Brun. 1662.
The Cardinal d'Bste. 1662.
The Cardinal de Mazarin ; after Mignard.
The ChancBllor Siguier ; after C. Le Brun.
Fran90i5 Villani, Bishop of Toumay ; after L. Franqois.
Francois M. le Tellier, Marquis de Louvois ; after Le
Fibre.
Louis le Pelletier, President of the Parliament; after
de LargUliere.
Frans Vander Meulen, Painter ; aftiT the same.
The ' Madonna della Sedia ; ' after Raphael. 1661.
The Holy Family, with St. John, who holds a pigeon ;
after Set. Bourdon.
The Holy Family ; after Gaspar de Crajyer.
St. Sebastian, with an augel drawing out the arrow ;
after Vandyck.
King David ; after Ph. de Champagne.
Some of his portraits appeared in Perranlt's
' Hommes Iliustres.'
SCHURIG, Karl Wilhelm, bom at Leipsic in
1818, studied there, and in Dresden under Bonde-
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, Cornelius 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 G. N. S.,
sometimes in a monogram.
SCHUEMANN, 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
had 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.
479
Schuschardt
A BIOGRAPHICAL DICTIOXARY OF
Schwarz
CFlai. xxxni. cd.io.cxl. a. m. s. fee., and inscribed
with these verses :
Cemitis hie picta nostras in imagine vnltas :
Si negat Ars formam, gratia vestra dabit.
At a somewhat advanced age she embraced the
opinions of Labbada, and f ollow-ed 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.
SCHUSCHABDT, Chbistias, a German painter,
was for a time Director of the Free School of
Design at Weimar, where he died in 1870.
SCHDSTER, JoHAXN JIabtix, bom at Nurem-
berg about 1667, was Director of the Xuremberg
Academy, where he died in 1738.
SCHCT, Cop.yELis, was bom at Antwerp in 1597,
and was a disciple, at least, of Rubens, although
it is not certain what the exact relation between
them was. lie painted much in the Antweip
churchea Of his altar-pieces, the best are his
' Nativity ' and ' Assumption of the Virgin ' in the
church of the J<s:iits; a 'Dead Christ, with the
Virgin and SL 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 Musetun
at Brussels. He also painted subjects from history
and classic fable. He is said to have visited his
brother, Pieter Schut, at Madrid, and to have
painted a picture on the staircase of the imperial
college, representing St. Francis Xa%-ier baptizing
the Indians. Schut frequently painted figures
within tlie garlands of Seghers ; he also etched a
considerable number of plates from his own designs.
Schut died at Antiverp in 1655. Vandyck painted
his portrait among the eminent artists of his country.
SCHUT, COESELIS, the younger, the son of Peter
Schut, an engineer in the Spanish service, was bom
at Antwerp, and was partly instructed by his uncle.
Cornelis Schut, the elder ; he afterwards went with
his father to Spain and practised at SeWUe. 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
th-'se of Murillo, and frequently pass for such. He
died at SeWlle in 1676.
Si JHUTKR. This man engraved, about the year
17G0, a portrait of Rembrandt, then in the collec-
tion of the Marquis Geriiii, now no. 60 in the Pitti
Gallery.
SCHUTER, Dax. See Saitkb.
SCHUTZ, JoHAXS Geoeg, painter, bom at Frank-
fort in 1755, son and pupil of Christian Georg
Schiitz I. He went in 1776 to the Academy at
Diisseldorf, and afterwards to Rome. On his re-
turn he paintfd historical and genre pictures and
landscapes. He died in 1813.
SCHDTZ, (or Schtz,) Karl, bom 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.
SCHGTZ, Hbbmaxx, a German engraver and
pupil of Amsler. His most important work was
a well-executed series of sketches after GenelU.
He died at Munich in 1869.
SCHUTZ, Christian Geobg (I), painter, bom at
Florsheim, near Mayence, in 1718, » ent to Fraiikfort
4^0
in 1731 to study under Hugo Scl.legel, 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, Chbistias Geobg (II), nephew and
pupil of Christian Georg I. , was b jrn at Florsheim
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 cap:icity he
fraudulently sold some pictures ascribed to Holbein,
which the city had afterwards to repurchase. He
died in 1823.
SCHL'TZ, Fbasz, painter, bom at Frankfort in
1761, son and pupil of Christian Georg L He
painted views in Switzerland. A journey to Milan
exercised a very good influence over his \rork. He
was a lover of «Tne, music, and practical jokes, and
died at Sacconay in 1781.
SCHCYLENBURGH, Hejibetck Van, a Dutch
painter, practising about 1647 at Middlebnrg.
SCHVVABEDA, Johaxs Michael, a painter of
landscapes, fruit, and flowers, was bom 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.
SCHWALBE, Obest. See Kipbenskt.
SCHWANFELDEB, Charles He.nbt, animal
painter, bom at Leeds in 17 1 3, 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 dicsd in 1837.
SCHWARTZ, a German engraver, who resided
at Nuremberg about the year 1626. He engraved
portraits and a series of plates for 'Icones Bibliopo-
lamm et Typographomm,' published at Nuremberg
in the year above mentioned.
SCHWARTZ, Jan. See Swabt.
SCHWARTZ, G., a military painter, practising
at Petersburg, was bom 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
Darer, who flourished at the beginning of the 16th
century, and in 1512 executed an altar-piece for St.
Mary's Church at Dantzic, with scenes from the
life of the Virgin and the Passion uf Christ.
SCHWARTZENBERG, Melchiob, was an en-
graver on wood, who cut some frontispieces for
Feyeraband the bookseller. He worked from
about 1530 to about 1550.
S'JHWAPiZ, Christoph, was bom at Ingolstadt
in 1550, and became the pnpil of Bocksperger, in
Munich. He afterwards en'ered 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
buildings of Munich, and for the Elector. Several
of these have been engraved by Jan Sadeler.
Schwartz died at Mmtich about 1597.
Gallery. A Fine Portnut.
^/«1^if}TheCracifcdon.
Pinakothek. St. Catherine.
„ St. Jerome before a Cmcifix.
The Madonna Entiironed upon
Clonds.
„ The Artist's Family.
Brunswick.
Lsndshnt.
Munich.
Schwarz
PAINTERS AND EXGBAVERa
Scitivaux
SCHWABZ, Hass, historical and portrait
painter of the 16th century, was bom at Oettingen,
in Saabia. In 1520 he ^vLs at Antwerp, and later
made the acquaintance of Durer, whose portrait
he painted at the bou^e of the Faggeis. In 1540
he married the widow of Hans Leonhard &■:•! iofelin.
SCHWARZ, ILiBTls, living in the last part
of the 15th century, was a natire of Eothenburg.
His pictures are sometimes attributed to Martin
Schongauer. His principal works are : a ' Christ
on the Cross ' in the church of Schwabach, near
Kuremberg ; an altar-picture for the Dominican
church at Bothenburg. where he lived as a
lay member, comprising ' The Angelic Salutation,'
• The Offering of the Three Kings,' 'The Death of
Mary,' 'The Burial of CSirist,' and 'The Virgin ar^d
Child.' These are now dispersed.
SCHWARZ, Paul Wolfgaxg, an engraver, bom
at Nuremberg in 1760. studied at Basle under
Mechel, and became in ITi-y court enoraver to the
Duke of Sacbsen-Oohnrg-Saalfeld. He died in
1815.
SCHWARZENBURG. Princess PAtxiSE xoy,
bom September 2, 1774, etched sixteen views of
her estates in Bohemia, published in 1814 and 1815,
and other plates.
SCHWED, B., a painter who flourished in the
16th century at Bamberg, and with Georg Glaser
executed a series of wall paintings in the Carmelite
cloister at Frankfort Copies from them are in the
Stadel Museum.
SCHWEGMAN, Hexdrik, a flower painter and
engraver, was bom at Haarlem in 1761, and studied
under P. van Loo. He engraved and coloured the
prints for a work entitled ' Icones Plantarum rari-
orum'; be also etched several landscapes after E.
van Drielst and others, in the manner of Anthonie
Waterloo. He died at Haarlem in 1>^ 16.
SCHWEICKART, JoHAXx Alam, engraver, bom
at Nuremberg in 1 1 22, 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 dravrings. He died in 1787.
SCHWEICKHAEDT, Heixrich Wilhblm,
painter, was bom at Brandenbuig in 1746. He
studied under Girolamo La [is. 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. JoHASS, was a native of Heidel-
berg, and flourished about the year 1660. He
worked for the booksellers. He engraved the
frontispiece and plates for 'Pamafsus Heidelber-
gensis, omnium illustrissimse hujus academias pro-
feseonira icones exhibens,' some of which are from
his own drawings. Schweizer died in 1679.
SCHWERD6EBURTH, Akaije Chablottb,
sister of Karl Schwerdgeburth the engraver, was
bom at Dresden in 1795, and went early with her
&therto 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, Kael August, en-
graver, was bom at Gera in 1785, and became a
pupil of the Dresden Academy. He engraved a
Vol. II. 1 1
few portraits, among them those of the Granl
Duche-s Maria Panlowna, the Grand Duke •_.£
Weimar, and Goethe. He also painted a ' Luther
at the Diet of Worms." He died at Dresden in 1878.
SCHWERDGEBURTH, Ono, son of Karl
Sihwerdgeburili, bom at Weimar in 1835 (1837),
! studied tirst under his father, and then under
Preller. In 18-56 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 l^oo.
S;;HWIND, Mobitz Ludwig. Bittke vox. his-
torical painter, bom at Menna in Ihi-I, attended the
Viennese Academy up to 1819, and worked under
Ludwig Sjhnorr. In 1828 he went to Munich, where
he painted twenty-nine frescoes from Tieck's poems,
in the palace. From 1840-44 he livei in Carlsrube,
and painted a wall picture in the Gal'er^'. 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
Pfarrkirehe, Munich, the Loggia decoration, the
Viennese Opera House, 'The Symplioriy,' a quad-
ruple picture in the Munich New PinakotLek.
S-liwind .lied at Munich in 1871.
SCHY^NDAL, (or Schesdel,) Bbbnard, bom
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 s ibjects with considerable humour,
and his pictures are ingeniously composed. He
died in 1693.
SOHrNVOET, Jakob, a Dutch engraver, who
resided in London about the year lii>j. 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 as
late as 1727.
SCIACCA, Toiouso, a Sicilian artist, a native of
Mazzara, bom about 1734. He worked at Rome
with the Cavalucci, and painted some large
compositions for churches at Bovigo.
SCIAMERONI, Lo. See Fuei.vi, Filifpo.
S' lAMINOSSI. Raphael. See S amkossi.
SCIARPELLONI, Lobeszo. See Ceedi ti.
SCILLA, (or Silla,) Acosxiyo, bom at Messina
in 1639, was a scholar of Antonio Ricci, called II
Barbalonga. Suoh 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 jears at Borne,
he returned to Messina, and established anacaderay,
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 B-jine in 1700. In
some of bis works he was assLstod by his brother
Giiicinto, a good artist, who lived till about 1711.
Agostino had a son, Satebio, who was also a
painter.
SCIPIONE Di GAETA. See Polzonb.
S'JIORINI, (or Della Siivrina.) Lorrxzo, an
Italian painter of the 16th century, a native of
Florence, was a pupil of Brcnzino. He was one
of the artists employed to decorate Michelangelo's
catafalque.
SCITR'AUX PE GRETSCHE. Rogke de, bom
at Nancy in 18.30, was a pupil of Couture. Be-
tween 1857 and 1865 he exhibited portraits and
481
Scoenere
A BIOGRAPHICAL DICTIONARY OP
Scott
genre pictures at the Salon. He died in 1870 in
Paris.
SCOENERE, Jan, (or db Sooeneee,) 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.
SCOENERE, Jan, (or de Scoenere,) the younger,
painted at Ghent in the 16th century, working
chiefly for the municipality. There were various
other artists of this name practising at Ghent and
Bruges in tlie 15th century. Eor a curious docu-
ment relating to one Saladin de Scoenere, see
' Peintres Gantois,' by M. Ed. de Busscher.
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.
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.
SCOPULA, Giovanni Maria, an Italian painter
of the 13th centnry, 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 Scapula de Irunto pirucit in Otranto.
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.
SCORODOMOFF, Gabriel, (ScROUDOMorr,) 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
imitated. 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
Kaufliman, 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, born at Voltaggio, near
Genoa, in 1589, was a scholar of Giovanni Battista
Paggi. lie painted landscapes, with well-com-
posed groups of figures and animals, and copied
with the pen some of Albrecht Diirer'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 Frangois Poilly, the elder, whose style he
imitated. Among his prints we may name :
The Marriage of St. Catherine ; after Ale$s. Veronese.
The Communion of the Magdalene ; after Domenichino.
The Circumcision : after P. Mignard.
482
The Baptism of Christ ; after the same.
The Presentation in the Temple ; after G. Le Brun.
The Country Life ; after Dom. Feti.
He died in 1715.
SCOTIN, Jean Baptiste, said to be the son of
the elder Gerard, flourished in Paris in the first
half of the 18th 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, Lonis Gerard, the younger, the nephew
of G6rard 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 Boucher.
Belisarius ; after Vaindyek,
And a few more.
SCOTNIKOFF, Bgor (Georq), an engraver, who
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, bom
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. (Co.)
Paracelsus lecturing.
Peter the Hermit.
Vasco de Gama meeting the Spirit of the Cape. (Trinity
House, Leith.)
Orestes and the Furies.
The Dead Kising.
Achilles Mourning Patroclus.
He also published several series of designs in
outline :
' Monograms of Man.' 1831.
' The Ancient Mariner.' 1837.
Illustrations to the ' Architecture of the Heavens,' by
Prof. Nichols. 1848.
Illustrations to the ' Pilgrim's Progress,' published after
his death.
Mr. W. B. Scott published a memoir of ^is
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 Morland, Stothard, and Ram-
berg. He died about 1810.
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,
Scott
PAINTERS AND ENGRAVERS.
Screta
where liis friend Pollard, a Newcastle man, gave
liira 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,' ufter 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-
itions, 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, Mabia, 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, RoBEKT, 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
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,
&c. &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
Thomas 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 the friend of Hogarth,
and formed one in the famous water-party to
Gravesend in 1732. His 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 by Hudson in the National Gallery, where
there are also two of his own works : ' Old London
Bridge ' and ' Old Westminster Bridge.'
SCOTT, William Henry Stothard, water-colour
I I 2
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, 1860.
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 ScoT'j'i,) Fhanoesoo, an Italian en-
graver, was born at Venice about 1760. ilia fac
similes of original drawings by Raphael, with others
by Rosaspina, were published by the Abbate Celotti
under the title ' Desegni originali di Raffaello per
la prima volta publicata, esistenti nella Imp. Ac-
cademia di Belle Arti di Venezia,' 1829, folio. F.
Scotto also engraved Leonardo da Vinci's (?) so-
called ' Modesty and Vanity.'
SCOTTO, (or Scotti,) Girolamo, born 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 pulchrse dilectionis ; after a picture discovered at
Genoa in 1823, and ascribed 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 iSarto.
SCOTTO, Steeano, 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 been the real master of Luini.
SCOUGALL, Geoeqb, 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 the man-
ner of Lely. Many portraits attributed to the elder
Scougall 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, Jambs, 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 Royal Academy, from
its foundation till 1787, sending chiefly miniatures,
but occasionally crayon drawings.
SCRETA, Karl, (Count Ssotnowskt von Za-
woRzic,) painter, was born of a noble family at
Prague in 1604. For several years he lived and
483
Scriven
A BIOGRAPHICAL DICTIONARY OF
Sebron
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 liis 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
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 Gar. Secreta
fee. 1666. He died at Prague in 1674.
SCRIVEN, Edward, engraver in the chalk and
dotted manner, born 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 JRejected ' ; 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, WiLLEM, a Flemish portrait painter
of the 16th century, was appointed painter to Queen
Mary of Hungary in 1637. 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.
SCROUDOMOPF. See Scokodomoff.
SCULPTORE, Adamo, (Ghisx ?) was born at
Mantua in 1530, and is supposed to have been the
son of Gio. Bat. Soulptore. 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 be 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. otj 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 Michelan(jelo.
SCULPTORE, Diana, (Ghisi ?) was born at
Mantua about 1535, and is believed to have been a
daughter of Gio. Bat. Soulptore. 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
484
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, Zucoari, 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 oil the Field ; after the
same.
Christ's charge to Peter ; after Raphael.
SCULPTORE, Giovanni Battista, (Ghisi?)
called Mantovano and Bektano, was 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 churches, 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 Soulptore, Scultore, or De' Scul-
tori, and that the word ' Sculptor,' which occasion-
ally follows his usual signature of /. B., or Z. 6.,
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.
Romano. He died at Mantua in 1575.
SEATON, John Thomas, portrait painter, was
the son of Christopher Seaton, the gem engraver.
He was a member of the Incorporated Society of
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, Lazzaeo, painter, flourished at
Venice in the 15th century. He was a pupil of
Alvise Vivarini. Nothing is known as to the dates
of his birth or death. He is supposed to have been
a native of Padua, but settled in Venice as early as
1470. In the Academy of Venice there are eight
scenes from the history of St. Ursula, and a ' Pre-
sentation in the Temple,' by him, and in the Scuola
di S. Giorgio degli Schiavoni, two series of scenes
from the histories of St. George and St. Jerome.
At Murano, in S. Donate, there is a Madonna with
Saints, and in S. Antonio at Venice, a Pieta. His
' Coronation of the Virgin,' in the Bergamo Gallery,
is dated 1490.
SEBASTIANO dkl 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.
SlllBRON, HiPPOLTTE, painter, born at Caudebec
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.
Secano
PAINTERS AND ENGKAVERS.
Seguier
SECANO, Geronimo, a Spanish painter, born at
Saragossa in 1638. After learning the rudiments
in his native city, he visited Madrid, where he
studied tlie great masters in tlie royal collection,
and returned to Saragossa an able artist. Palomino
praises his frescoes and oil pictures in the church
of S. Pablo. For thelast 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,
and flourished at the beginning of the 16th century.
He was a disciple of Poniponio Araalteo, and was
a respectable painter of history and portraits. In
the church of S. Giorgio, at Udine, there is a ' Christ
bearing His Cross,' with angels holding the instru-
ments of the Passion, by Seccante. He married
the daughter of Pomponio Amalteo.
SECCHI, Giovanni Batpista, an Itahan painter
of the 17th century. He was called II Caeavaggio
and Cakavaggino from the place of his birth, and
practised about 1619. Lanzi states him to have
painted an ' Epiphany ' for S. Pietro in Gessato.
SEOCHIARI, GinLio, painter, was a native of
Modena, but was educated at Bologna, in the school
of the Carracoi. 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 the churches at Modena. He died in 1631.
SBCHAN, PoLYCABPB Charles, born in Paris in
1803, was a scene painter of much repute, and in
this capacity was engaged at the Grande Opdra,
where he painted the scenery for a great number
of pieces. He was similarly employed at the
Thefttre Frangais, the Th^lttre 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 Thditre de la Monnaie,
Brussels. Outside his theatrical emploj'ment his
best known works in Paris were the restoration of
the Galerie dApollon in the Louvre, and the trans-
formation of the Pantheon into the church of St.
Genevieve. He died in Paris, September 14,
1874.
SEDDON, 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 1864 he
travelled with Mr. Holman Hunt in the East, and
setting 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 born 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 Wolff ; after Roi/.
St. Rosalie and St. Theresa.
Four Allegories ; after Solimena.
SEDELMEYR, Johann Anton, a German painter
and lithographer, born at Munich in 1797, studied
in that city under Kobell and Georg von Dillis.
He was a pleasing landscape painter, and litho-
graphed a number of pictures in the Munich and
Sohleissheim Galleries.
SEDGWICK, Willi AM, engraver, born in London
in 1748, engraved under the influence of Bartolozzi
after Angelica Kauffman, 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 Chopping-block,' and a ' Boy with
Dog,' are in the Staedel Museum, Frankfort. He
died at Darmstadt in 1768.
SBELB, Johann Baptist, painter and etcher,
born at Morsburg in 1776, 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.
SEELINGER, Alfred, historical painter, a native
of Bavaria, who painted a well-known picture, called
' Spartacus, Gladiator.' He died at Rio de Janeiro
in 1873.
SEEMAN, Enoch, (Zeeman,) portrait painter,
born in 1694, was the son of Isaac Seem an, a por-
trait painter of Dantzio, by whom he was brought
to England. Here he painted many portraits, some
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 Carita, Venice,
is praised by Lanzi. He died in 1720.
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 1698.
SEGARRA, Jayme, a Spanish painter, who,
in the year 1530, painted an altar-piece for Notre
Dame de Belen, at Reus.
SEGHEfi, Anne, miniature painter, was the
daughter of a physician at Breda, and practised in
the 16th century.
SEGHERS. SeeZEGHERS.
SEGHIZZI, Andrea, a decorative painter, born
at Bologna in 1630, was a. pupil of Albani, and
painted in Ravenna, Modena, Parma, and Bologna.
SEGNA Dl BUONAVENTURA, painter, who
flourished at the beginning of the 14th centurj' at
Siena, was a pupil of Ducoio di Buoninsegna. His
chief works are a ' Majesta,' in the church of Cas-
tiglione Florentine at Arezzo, ' Christ on the Cross,'
in the Abbey of S. Fiore, a ' Virgin with Saints,'
in the Academy of Siena, and ' Christ on the Cross
with the Virgin and St. John,' 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, born in London in 1786, 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 superintendent of the
British Institution, and died in London in 1866.
485
Seguier
A BIOGRAPHICAL DICTIONARY OF
Selma
SEGUIER, William, born in London in 1771,
was the son of David Seguier, a well-known picture-
dealer of the last century. He 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-
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
returned to his native country, and practised there
with success.
SEIBELS, Kael, 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 iive of
his portraits, including one of himself. He died at
Vienna in 1768.
SEIDL, Andreas, painter and engraver, born 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.
SE IDLER, Caeolink Louise, born at Jena in
1786, was instructed by Roux, 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 Weimar Gallery. She painted
portraits in oil and crayons, as well as religious,
mythological, and romantic scenes. She died at
Weimar in 1866.
SEILLER, JoHANN Georg, of SchafEhausen, a
mezzotint engraver, 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 fecit et ex., and sometimes Joli. Georg
Seiller sca/fusiatuis fecit.
SEINSHELM, August Karl, Graf von, painter
lithographer, and etclier, born at Munich in 1789*
began etching about 1809. While studying law at
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 'Virgm 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
486
1869. He etched ten plates, of which we may
name :
An Old 'Woman Beading.
A Young 'Woman with a Child.
A Madonna with the Cliild Jesus.
A Man's Head.
A Eoman Mother.
SBISENEGGBR, Jakob, bom in Austria in 1505,
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.
SELB, Joseph, born 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 Mannlioh 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, historical painter, was bom at
Altona in 1831. He studied at the Diisseldorf
Academy from 1861 to 1856, and formed a close
intimacy with Th. Hildebrand and W. Schadow.
He further improved himself by travels in Germany
and Belgium, and accompanied the Prussian army
in the campaign against Austria in 1866, and in the
French war in 1870. His favourite subjects were
battles and military scenes, taken sometimes from
German history, sometimes from modern warfare.
He died at Diisseldorf in 1883. In the Berlin
Gallery there is a ' Scene after Koniggratz ' by him.
SELLENY, Joseph, born at Meidling, near
■V^ienna, 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, born in 1764, was an EngUsh
portrait, fruit, flower, and genre painter. He died
at Norwich in 1840.
SELLIER, Charles FBANgois, 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
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 Mustum :
The Penitent Magdalen.
The Death of Leander.
The Levite of Ephraim.
A Kitchen Interior.
Study of a Head.
An Italian Souvenir.
SELMA, Fernando, a Spanish engraver, was
born at Valencia about 1750. He studied in
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
Solis, 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,
Sementi
PAINTERS AND BNGEAVEES.
Senex
and various others. One of his best plates is the
Spasimo of Raphael. We may also name ;
La Madonna del Pesce ; after Baffaelle.
The Virgin and Child ; also after Raffaelle.
Selma died in 1810.
SEMENTI, GlACOMO, (Sbmbnza,) painter, was
born at Bologna in 1580, and was a fellow-student
with Francesco Gessi, under Denys Galvaert 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. Ceciha,'
in the church of St. Elena ; a ' Marriage of St.
Catharine,' in S. Francesco ; a ' St. Sebastian,' in S.
Michele ; 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.
SEMINI, Andbba, the elder son of Antonio
Semini, born at Genoa in 1510, was first instructed
by his father, but afterwards studied under Perino
del Vaga, who had taken refuge at Genoa in 1528,
after the sacking of Rome. By the advice of Perino
he visited Rome. After a residence of eight years
in that capital he returned to Genoa, where he
painted pictures for the churches and public edifices,
among the best a 'Nativity,' in S. Francesco ; and
an ' Adoration of the Magi,' in La Nunziata. He
worked for a time at Milan in conjunction with his
brother Oltavio. He died in 1578.
SEMINI, Antonio, painter, was born at Genoa
in 1485, and was a disciple of Lodovico Brea. He
afterwards studied Perugino, and imitated his style.
His principal picture is. the ' Martyrdom of St.
Andrew,' in S. Ambrogio, at Genoa. There is also
a ' Cleopatra ' b3' him in the Pallavicini Palace
there. He died in 1545.
SBMINI, Giano Cesaeb, a Genoese, who painted
a ' Crucifixion ' for the church of S. Bartolome de
Sonsoles, at Toledo. He was also employed by
Philip HI. in the Palace of the Pardo.
SEMINI, Ottavio, the younger son of Antonio
Semini, born at Genoa in 1520, was, when very
young, placed under the tuition of Perino del Vaga,
with whom his elder brother Andrea was a student.
Possessed of a more lively genius than Andrea, he
was soon sufSciently advanced to proceed to Rome,
for the completion of his studies. He returned
with his brother to Genoa, and, in conjunction with
him, executed several considerable works. He
decorated the fapade of the Palazzo Doria with
statues and architectural ornaments, and painted
some frescoes in the interior. He was invited to
Milan, where he passed the latter part of his life.
In the church of S. Angelo he painted several
subjects in the chapel of S. Girolamo ; the best a
Funeral of that Saint. Ottavio Semini died at
Milan in 1604.
SEMITECOLO, Niocol6, 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 liave been supplemented by
a ' Coronation of the Virgin,' by one S'J'BFANo, (who
signs himself Stefan Plebanus Sanctoe Agnetis ■pwxit,
M.OCG.LXXX.) to form an altar-piece. In 1.B67
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 known to have lived until
1400, and it has been suggested that he was identical
with Niccol6 Paradisi (q. v.), so called from his
residing near the bridge of that 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 Dtirer's prints with great success.
Among his best imitations is the 'Descent into
Hell,' from the Life of Christ. It bears the date
of the original, 1612, as well as the year in which
it was engraved, 1580.
SENAVE, Jacopus Albertus, bom 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 Ypies, 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.
SENEFELDEE, 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 studj' 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 fiorins ; 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 offi 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 sufficient 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. ']?he mere use of stone as a substitute for
copper had been known before, but Senefelder's
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 Hbinrich his
son, all practised as lithographers.
SENELLY, , an Austrian painter of the
19th century, the first part of whose career was
spent in great privation and miserj'. His early
struggles seem to have affected his brain, for, in
1873, after he had obtained some recognition, he
became insane, and died in 1876.
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
487
Senezcourt
A BIOGRAPHICAL DICTIONARY OF
Semd
for the year 1723, which was by John Clarke. He
died in 1741.
SENEZCOURT, Jules db, painter, was born at
Saint Oraer in 1816. In 1841 he settled at Brus-
sels, where he practised portrait and genre painting.
He died in 1866.
SENFP, Adolf, a German painter, born at Hall^
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 Ktigelgen
at Dresden. He afterwards went to Rome, where
he copied many of Raphael's masterpieces for the
' Rafael-Saal' at Sanssouoi. He painted a 'Madonna
Enthroned,' and a ' Christ and the Canaanitish
Woman,' but was more successful with fruit and
flowers. His brother Kael 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 wbich appeared at the Salon, but his best
work is a ' Resurrection ' in the cathedral of V.'ilence.
SEPP, 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 coloui ed 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 1630, and studied under Luca Cambiasi and
Giambattista Castilli, and died in 1679.
SEPTIMUS, Hercules. See Setti.
SEPULVEDA, 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 500 ducats towards the
expenses of the war in which his Majesty was
engaged. His patent, among other privileges,
gave hiin the sole right of painting all banners,
standards, &c., required in the navy. He is also
said to have painted in fresco.
SEQUEIRA, DoMiNGOS 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 scliolar of Antonio Cavallucci, and after
spending some years in Italy he returned to Portugal,
where his works were soon in great request. Se-
queira had much versatility, and strange stories are
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 aud other plates for books.
SERAPIN, Pedro, surnamed el Griego, a
painter of Barcelona, who, in conjunction with
Pedro Pablo, painted the doors of the organ of the
cathedral of Tarragona.
SERAFINL See Dei Serafini.
SERAFINI. See Modena, Babnaba da (Sup-
plement).
SERANGBLI, 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-
488
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-
mariva on Lake Como with frescoes from the legend
of Psyche. He finally settled in Milan, where he
became Professor to the Academy.
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, Antoinb Louis Fkanqois, engraver,
born at Chartres in 1761, 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 Mab-
CBAU, 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 Modern,' in twenty-one
parts. He died, blind, at Nice, in 1817.
SERI, Robert de, painter and engraver, born 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. Fidelis ' 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, wliich profession he exercised at the Hague.
In 1748, when he had reached his seventieth year,
he painted the portrait of the Marquis de Fen61on,
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, Cesarb, 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, &o., in-
troducing numbers of small figures. He died at
Assisi in 1600.
SERMONETA. See Siciolantb.
SERNE, 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 ZwoUe, where he died in 1847.
Serra
PAINTERS AND ENGRAVERS.
Serwouter
SERRA, Miguel, (Sbebb, Serkes,) 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 do 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.
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 1752, 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 years
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, ofi 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-
ciis,' 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, Henei Auguste Calixtb Cbsae,
painter, was born at Larabersart, 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 there entered
Regnault's studio. He exhibited at the Salon from
1819 to 1852, and died in Paris in 1865. Works :
Arras. Museum, Brunhilda.
„ Cathedral. St. Waast healing the Blind.
Bordeaux. Museum. Portrait of Charles X.
Cambrai. „ Death of Mazet.
Douai. „ Kazzia in Africa.
Lille. „ Three Scenes from Homer.
slmd£llt ] ^''^ Presentation in the Temple.
Eennes. «-«^£|: | Tobias burying a Hebrew.
Valenciennes. Museum. The Shipwreck of Camoetis.
Tersailles. „ Several OflBcial Portraits and
Battle-pieces.
SERVAES, Heeman, a Flemish painter, born
probably at Antwerp in 1601. He was a pifpil
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. 6. 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<es, 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 WUrtemberg. 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, Am6d:6e ^lie, painter, was born in
Paris in 1829. He was a pupil of Drolling, entered
the idlcole 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'isin the
Marseilles Museum, and there are landscapes by him
in the Museums of Mans and Melun. He died in 1886.
SERVi:fcRES, Eug:6nib, Madame, {n^e Charen,)
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, Pietee, u 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 twelve Hunts ; after D. Vinqltehooms.
The Fall of our first Parents ; after the same.
A Dutch Merrymaking ; after the same.
Samson 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, ^. '\V*
489
Sesto
A BIOGRAPHICAL DICTIONARY OF
SeydelmaniL
SESTO, Cesare da, sometimes called Cesabe
Milanese, was born at Milan about 1470. He is
generally regarded as a disciple of Leonardo da
Vinci, but late in life he went to Rome and became
afEected 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 work. The
'Vierge aux Balances' of the Louvre, formerly
ascribed to Leonardo, is probably his. Lord Mon-
son's ' Holy Family,' also called a Leonardo, is a
good old Flemish copy from a picture by Cesare now
in the Brera, at Milan. The 'Judith,' at Vienna ;
the ' Altar-piece,' in several compartments, in the
convent of Sta. Trinita della Cava, near Salerno,
long given to Sabbatini, are also by Cesare. He
died at Milan about 1524. Other works by him :
Madrid. Museum. Virgin and Child.
Milan. Ambrosiana. Youthful Head of Christ.
„ Brera. A Madonna.
„ Casa Scotti. Baptism of Christ (with a land-
scape by Bernazzano).
„ Casa Melzi. Altar-piece in several compart-
ments, St. Eoch in the centre.
Naples. Museum. Adoration of the Kings.
Turin. Gallery. A Madonna.
Venice. Manfrini Gall. Two Madonnas.
SESTRI. See Tbavi.
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. Roos.
SETTBLLA, 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 Septimus, 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 plates and was still at work in
1593.
SEUBBRT, Johann Fbiedrich, bom at Stiitt-
gart in 1780, learned art from Heideloff, and
painted decorations, portraits, and flowers in
water-colours. He became professor to the Eath-
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.
SEUTER. See Saiter.
SiiVE, Gilbert db, was born in Paris in 1615.
It is not known by whom he was instructed, but he
was a painter of ability, and a foundation member
of the old maitrise. 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.
Si;VE, Pierre de, brother of Gilbert de SSve,
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, born about 1795. He
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
490
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 Keats in
the Protestant cemetery next the pyramid of Gains
Sestius. The following works by him are at South
Kensington :
Scene from ' Eloisa and Abelard.'
Mary Stuart at Loch Leven.
Ariel, on a Bat.
Nymph gathering Honeysuckle.
Portrait of Keats. (Nat. Fort. Gallery.)
SEVERN, Miss. See Newton, Mrs. Charles.
SEVERO DA BOLOGNA, an early Italian painter,
practising about 1460. He was a pupil of Lippo
di Dalmasio.
SEVILLA ROMERO Y ESCALANTE, Juan db,
bom at Granada in 1627, 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' (No. 707) in the Dresden Gallery, is
probably his work. He died at Granada in 1695.
SEVIN, Jean, u, Belgian architectural and
decorative painter, was painting in 1750.
SiiVIN, PlEBRB Padl, 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. Se3'delmann, 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 Ceescentius, was born
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-
ings from the antique and after the 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
SeyfFarth
PAINTERS AND ENGRAVERS.
Sharp
until his death, which occurred at Dresden in
1829
SEYFFARTH, Louise. See Shabpe.
SEYFFEK, August,. painter and engraver, bom
at LaufEen 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 Tubingen in
the style of Woollett, and became Keeper of En-
gravings in Stuttgart. He died in 1845.
SEYFPERT, JoHANN Gotthold, engraver, bom
at Dresden in 1760, was instructed in drawing by
Casanova, and in engraving by the elder Stolzel.
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, Edwabd, 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, EoBBET, caricaturist, born 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,' ' The 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 haa 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.
SG UAZBLLA, ANDEEA,(or Chiazzella,) an Italian
painter of the 16th century, was a pupil of Andrea
del Sarto, whom he 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 Henaissance des Arts ct la Gour 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 Eoea Vico, with certain
alterations, as a work of Eaphael, and again, with
the true ascription, by A. Girardet for the Muse'e
ifapoUon.
SHACKLETON, John, portrait painter, suc-
ceeded Kent as principal painter to George II.
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 Eoyal 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.
SHARP, 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 was 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
the 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 alwaysmasterly, 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
the artist .and less of the mechanic than any other
engraver of bis 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
being long aimoyed 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 propoMl, 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-
491
Sharpe
A BIOGRAPHICAL DICTIONARY OP
Shee
hanna Southoote, and in the visions of Emmanuel
Swedenborg. The 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 Loutherboui-g. The following list
embraces his principal plates :
Portrait of John Bunyan.
„ George TVashiagton.
„ Samuel More ; after West.
His own portrait ; after K F. Joseph.
Portrait of the Earl of Arundel ; after Van Dyck.
„ Lord Diindas ; after Maelmm.
„ Kosciuszko ; after Stothard and C. Andreas.
„ Dr. Edward Jenuer ; after Chobday.
The Magdalen ; after Guido.
Siege and Relief of Gibraltar ; two plates, after Copley.
Landing of Charles II. ; 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 Endor ; after B. West.
Alfred dividing his Loaf with a Pilgrim ; after the same.
The Children in the Wood ; after Henwell.
St. Cecilia ; after Bomenichino.
The Sortie from Gibraltar ; after Trumbull.
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.
' Luoretia ' and ' St. Cecilia ' ; after bomenichino.
The three Marys and dead Christ ; after An. Carracci,
from the picture at Castle Howard, but left unfinished.
Sharp completed Woollett's unfinished plate after "West's
'Landing of Charles II.'
The British Museum contains a complete collection
of Sharp's engravings, in a variety of states.
SHARPS, Eliza, the elder sister of Louisa
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
t'he "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, LoDisA, born in London about 1800,
began her career with miniatures and portraits, and
then took to genre painting 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. SeyflEarth, of
Dresden, and settled in that city, where she died in
1843.
SHARPLES, Mrs., portrait painter, born at
Birmingham about 1753, was the wife of an Eng-
lish artist practising in America. On liis death
in 1807 she returned to England and exhibited
miniatures of General Washington and Dr. Priestley
at the Academy. She afterwards settled at Bristol,
where she died in 1849, bequeathing her pro-
perty to found a Bristol Academy of Art. Her
son Jambs exhibited portraits occasionally at the
Academy. He practised at Bristol, where he died
in 1839.
SHARPLES, RoLiNDA, portrait painter, was the
daughter of Mrs. Sharpies, and practised at Bristol.
She exhibited occasionally at the Academy, but her
best known work was a ' Trial of the Bristol Rioters,'
exhibited at the Suflolk Street Gallery in 1832.
She died in 1838, and bequeathed several of her
father's portraits to the Bristol Society of Arts, an
492
institution afterwards incorporated with thatfounded
by Mrs. Sharpies.
SHAW, Henby, 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 Encyolopiedia of Ornament'
(1842), 'Alphabets, Numerals, and Devices of the
Middle Ages ' (1845), ' Decorative Arts of the
Middle Ages' (1851), 'The Handbook of Medieval
Alphabets,' 'Arms of the Colleges of Oxford'
(1855), 'Ornamental Tile Paintings' (1858). He
died in London in 1873.
SHAW, James, devoted liimself 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 Penny. 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 Berchem, 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
meolianics. 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 their
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
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
Shelley
PAINTERS AND ENGRAVERS.
Sherwin
years later he moved to the house in Cavendish
Square in wliich 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 his best pictures is the portrait of Lewis, the
actor, now in the National Gallery.
SHELLEY, Samuel, painter and engraver, bom
in Whitechapel about 1760. 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 fine harmony
and richness in colour. He became famous as a
painter of miniatures, dividing the patronage of
the day with Cosway and Collins. He also pro-
duced mythological and historical subjects in mini-
ature, such as 'Psyche,' 'Nymphs feeding Pe-
gasus,' ' Cupid turned Watchman,' ' Cupid solicits
new 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, wliich 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 Chawneb, 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 Eichard Coeur de Lion ; after J.
Cross ; for the London Art Union.
Some good plates for Finden's ' Annual of British Art,'
and the Annuals.
SHEPHARD, William, portrait painter, practised
in the reign of Charles II. A portrait by him is
extant of Thomas Killigrew, the jester, with
his dog, engraved by Faithorne. He is said to
have died in Yorkshire. Francis Barlow was his
pupil.
SHEPHBARD, 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
there 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, born 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-
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 Gdrard Audran's plates after Le Brun's
' Battles of Alexander.'
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 the Academy from 1785 to 1789, but
his insufficient education prevented him from reach-
ing success. He died in London in 1790.
SHERIFF, Charles, (or Shebeiff,) a deaf and
dumb painter, who practised in Edinburgh in the
second half of the 18th century. In 1773 he
came to London, where lie 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. It is said that he
eventually went to India and there exercised his
profession.
SHERIFF, William Craig, a 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, 1806, at the age of nineteen.
SHERLOCK, William, painter and engraver,
the son of a prize-fighter, was born at Dublin about
1 738. 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 born 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, 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
493
Sherwin
A BIOGRAPHICAL DICTIONAEY OF
Sibelius
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 be
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 Joj'S 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 WooUett than that of Bartolozzi. His
plates from his own compositions are im pleasing,
but ' The finding of Moses,' in which the beautiful
Duchess of Devonshire represents the daughter
of Pharaoh, 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-
hill. 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 Gainshorougk,
Dr. Louth, Bishop of London ; after Pine.
Captain James Cook ; after Dance.
Sir Joshua Keynolds ; after a picture ij( himself.
William Woollett, Engraver to the King.
Mrs. Siddons, in the character of the Grecian Daughter.
The Holy Family ; after Carlo Maratti.
Christ bearing the Cross ; after the picture ly Guido in
the chapel of Magdalene College, Oxford.
Christ appearing to Magdalene; after Guido's picture
at All Souls' College, Oxford.
The Holy Family ; after Carlo Maratti.
The Fortune-teller ; after Eei/nolds.
The Death of Lord Eobert Manners ; after Stothard.
The Holy Family ; after Fietro da Cortona.
The Virgin and Child ; after JV. Poussin.
Noli me Tangere ; 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
several portraits by him ; he also engraved some
frontispieces and other plates for books, from his
own designs, among which are tlie 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 Richmond.
OUver Cromwell.
Charles II. ; three plates, one a whole-length ; prefixed
to Ashmole's ' Order of the Garter.'
Catherine, his Queen.
Christopher, Duke of Albemarle.
WiUiam III. when Prince of Orange.
Henry, Duke of Norfolk.
George I. when Elector of Hanover.
Richard Atkyns, Typograph. Eeg.
Slingsby Bethell, Sheriff of Loudon.
494
Henry Scudder, B.D., Presbyt.
William Ramesay, M.D.
William Bridge, A.M., Presbyt.
William Sermon, M.D. ; inscribed, fF. Sherwin, ad
vivum, 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 bom 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 Visitor,' &c. He died in 1857.
SHIBRCLIFFE, Edward, miniature painter,
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 the St. Martin's Lane Academy, once
called 'Shipley's School.' There is a mezzotint by
Paber of a man blowing a lighted torch, which
bears the name of Shipley as the painter, but whether
by this artist 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, GE9EGINA Shipley, 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, RoBEET, 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 Macklin'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 by
Boydell.
SHDTE, John, painter and architect, was bom
at Collumpton, in Devon. In 1668 he published a
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 author had been for a time in the
service of the Duke of Northumberland, who had
sent him into Italy in 1560, to study under the
best architects. He is mentioned by Richard Hey-
dock, in bis translation of ' Lomazzo on Painting,'
published 1698, 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 portiait by him, signed
and dated 1725.
SIBELIUS, M., a Dutch 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 ; after Daniel Dodd.
Siberechts
PAINTERS AND ENGRAVERS.
Siciolante
SIBERECHTS, Jan, painter, bom at Antwerp
in 1627, was the son of Jan Siberechts, a sculptor.
He was 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 him at Cliefden. He
painted landscapes in the style of Berchem 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, &c. He died in London in 1703. There is a
' Farmyard ' bj' him in the Brussels Museum.
SIBMACHER, Johann, engraver, of Nuremberg,
practised from 1596 to 1611, and etched several
plates from Antique Statues for Boissard's, collec-
tion.
SIBSON, Thomas, an English subject painter,
born in Cumberland in 1817. Intended for com-
merce, he was chiefly self taught in art. He went
to London in 1838, and was engaged in book illus-
tration. Specimens of his powers in this direction
are to be seen in ' A Pinch of SnufE,' S. C. Hall's
'Book of Ballads,' the 'Abbotsford' edition of the
' Waverley Novels,' &c. In 1842 he went to
Munich to study under Kaulbaoh, but returned to
England on account of ill health. Proposing to
winter in Italy, he died on his way there, at Malta,
in 1844.
SICARD, Louis Apollikaire, a French painter
of flowers, fruit, and still-life, born 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 Fbiedeich, 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, Comelis
and Carl. Nagler is of opinion that Cornells
and Christopher the younger are identical. Some
writers have turned their name into Vichem,
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 witli his cuts, ' Die 13 Orte der
loblichen Eidgenossenschaft,' was published at Basle
in 1573. The 180 cuts in Miiller von Marpurck's
' Contrafacturen weitberiihmter Kriegshelden,'
Basle, 1577, are signed with Sichem's monogram.
The Strasburg Livy of 1590 ; a ' Beschreibung der
Kunst des Fechtens,' published at Augsburg by
Joachim Meyer in 1600, and a Josephus, Stras-
burg, 1601, were also illustrated by this Sichera.
This Sichem may be the author of the following
portraits, on copper :
The Emperor Charles V. ; inscribed Carolus Qidntus
Imperator, ^c. Ch. v. Sichem, sculp, et exc.
Queen Elizabeth ; inscribed Elisaheta D. G. Anglia, SfC.
Ch. V. Sichem, fecit.
Eobert Dudley, Earl of Leicester; C. van Sichem, sc.
et exc.
Francois Valesius, Duke of Alencjon ; the same iriscrip-
iion.
A set of twelve Historical subjects ; Christ, van Sichem,
fecit. CWoodouts.)
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. V. 8. :
A numerous set of Portraits of the principal Reformers
of the Church, published at Arubeim in 1609 ; en-
titled ' Iconica Hseresiarcharum.'
A set of whole-length Portraits of the Counts of Holland
and Zealand.
SICHEM, Cornelis van, was probably born 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 Q^, There can be little
doubt as to his authorship of the following prints :
Esther before Ahasuerus ; after L. de Leyden.
The Adoration of the Shepherds ; after Ah. Bloemaert,
The Circumcision ; after S. Goltzius.
Judith with the Head of Holof ernes ; 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 Carlsrulie. In 1834 he
went to Munich, Paris, and London. For nearly
two years he worked atthe " Gallery of Versailles."
In 1839 he returned to Nuremberg, and afterwards
went to Leipsic. His excellent engraving after
Graffs 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 :
Ancona. S. Bartolommeo. Virgin Enthroned, with St.
Bartholomew and other
Saints.
Berlin. Count Hacrynsld's 1 . pjgiA
Gallery. ]
Eome. S. Maria Maggiore. Martyrdom of St. Catherine.
„ Ara Cmli. The Transfiguration.
S. M. delta Pace. The Nativity.
495
Sickinger
A BIOGRAPHICAL DICTIONARY OP
Sieurac
^'"'- %?;rjf>^« Crucifixion.
„ iS, Luigi. Baptism of Clovis.
SICKINGER, GEitGOlEE, a Swiss painter, prac-
tising at tiie 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 established 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-aTid-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 tlie early part of the 16th century. He is said
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. IVIamigliano. It is dated 1538, and
shows the influence of Raphael. Frescoes by Siculo
exist in the Palazzo and in the church of S. Niccolo
at Spoleto.
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, LuDwiQ VON, (or Sibgen von Sechtbn,)
an oflScerin the service of the Landgrave of Hesse-
Cassel, who is now credited with 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 bis 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 1687, when heen(ei-ed
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 j'ear 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 Wolfenbiittel 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 a S.
H. 17 iu., 'W. 12J. The second state of the plate has
the date 1643.
2. Eleonora Gonzaga, wife of the Bmperor 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. a Siegen inventor fecit, 1643.
3. Portrait of the Prince of Orange, inscribed Guilhel-
mus D. G. Princeps auriacus comes NassavisB, etc.,
MDCXLiiii., in one row of capital letters at the bottom.
Signed near the top, G. Honthorst pinxit. Z. d Siegen
inventor fecit, 1644.
4. Portrait of the Princess of Orange, inscribed Augusta
Maria Caroli M. B. Reg. fllia Guilhelmi Priuc. Aur.
Sponsa. In the lower left corner, Hondthorst pinxit.
L. a Siegen inv. et fecit.
5. The Emperor Ferdinand III., in an oval, on the upper
part of which is inscribed. Bom. Imperator semper
Aug. et Boh. Hex. and on the lower part, Lud. Siegen
in Sechten ex ... . pinxit novoq. a se iuvento modo
sculpsit Auuo Domini 1654. On the left at bottom
L V S in a monogram, and opposite the date 1654.
496
6. St. Bruno, 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'nia
suis Patronis, &c.; on the right. In honorem S" Brun-
nonis, &c. L a Sjn S. An. 1654.
7. The Holy Family, after Annihale Carracci. Dedi-
cated to Prince Leopold of Austria. At the bottom,
Ludw. a Siegen humilissime offert — Annib. Caratii
pinx. Lower down, Lodovicq a S. nopo 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, August, a painter of Breslau, studied
first at the Berlin Academy, and afterwards under
David in Paris. He began as a historical painter,
but afterwards painted landscapes, into which he
introduced groups of historical figures. He was also
a successful painter of portraits and of dioramas.
SIENA, Berna da (or Baena). See Barna.
SIENA, Gdido da, one of the earliest of the
Sienese painters. The name, Guido 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 the revival of art. Now, however, it is
believed that the date in question has been tampered
with, and that it 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. Several panels in the Siena Gallery are
doubtfully ascribed to Guido.
SIENA, Lorenzo da. See Lorenzo di Pieteo.
SIENA, Marco da. See Pino.
SIENA, Matted (or Matteino da). See Matted.
SIENA, Matted di Gidvani da. See Matted di
Giovanni.
SIENA, MiNUCCiD DA. See Minhccid.
SIENA, Sand da. See Sang di Pieteo.
SIENA, SiMONE da. See Martini.
SIENA, Ugolind da. See Uqdlino da Siena.
SIERRA, Feancisco Perez, is reckoned a Spanish
painter, 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
pictui-es by Spagnoletto ; and in painting a series
of Saints for a chapel he had founded at Madrid.
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.
SIEURAC, FRANgcis Joseph Juste, miniature
painter, born 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 Soreze, near Totdouse, about 1832.
Amongst his miniatures were portraits of Lord
Byron, Sir Walter Scott, Thomas Moore, and the
Duchesse de Berri.
SIEURAC, Henri, painter, was the son and
pupil of Francois Joseph, and was born in Paris,
August 15, 1823. He studied for a time under
Paul Delaroche, and exhibited at the Salon from
Sievier
PAINTERS AND ENGRAVERS.
Signorein
1848 until his death, which took place in Paris,
December 1863. The following are his best known
works :
Aix. Museum. The Triumph of Fabius.
Chalon-sur-Saoue. „ The Birth of Bacchus.
Dijon. „ Faith, Hope, and Charity.
Toulouse. „ The Renasoeuce (an allegory).
SIEVIER, Robert William, engraver, born in
London in 1794, studied engraving with Young
a\d Scriven, and afterwards worked in the Academy
schools. He engraved the portraits of Lord Ellen-
borough, after Lawrence; Lady Jane Giey, after
Holbein; 'The Importunate Author,' after New-
ton, and several plates after Etty. His study
in anatomy andmodelHng 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, Xaviek, painter, born at Uz^s 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
saints 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 himself 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.
SIGMUND III., King of the Poles, born 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.
SIGNORACCIO, Bernardo and Paolo. See Del
SiGNORACCIO.
SIGNORELLI, Francesco, the nephew of Luca
Signorelli, assisted his uncle in the frescoes in the
Chiesa di Gesu at Cortona. His own style is hard
and cold, and deficient in perspective. There
is a ' Standard ' by him in the Sacristy of S. Gio-
vanni Decollato at Citta di Castello; also a 'Con-
ception' in the choir of S. Francesco at Gubbio.
SIGNORELLI, Luca, painter, born at Cortona
about 1441, was the son of Egidio di Ventura Sig-
norelli, and pupil of Pietro de' Franceschi, with
whom he worked in Arezzo in 1472, and in Citta di
Castello in 1474. He then went to Florence, but
in 1478 was invited by Pope Julius II. to Rome,
where he painted two subjects from the life of
Moses in the Sistine Chapel. In 1484 he was again
in Perugia, and painting an altar-piece still in the
chapel of St. Onofrio, in the Cathedral. In 1488
he was made a citizen of Citta di Castello and a
magistrate of Cortona, in which capacity he served
for the rest of his long life. In 1497 he painted
eight frescoes in the convent of Monte Oliveto,
VOL. II. K K
south of Siena, representing scenes from the life
of St. Benedict, which are specially interesting on
account of traits which recall Leonardo. His great
work, however, is the series in the chapel of the
Madonna di San Brizio in the cathedral of Orvieto,
painted after 1499, in which year the first contract
for them was signed. In painting them he was
assisted by his pupil Girolarao Genga. Togetlier
with those of Fra Angelioo (from whose design
Signorelli painted, on the south side of the vaulted
roof, the apo3tles and angels with the signs of the
Passion), Luca's frescoes form a cycle of subjects
belonging to the Last Judgment, 'Antichrist,'
'The Resurrection of the Dead,' 'Hell,' and 'Para-
dise;' below, on a dado, are represented the poets
of classical and biblical antiquity, in circular pic-
tures, surrounded by numerous allegorical and
mythological paintings and grotteschi in mono-
chrome. In the 'Antichrist,' Luca has introduced
portraits of himself and Fra Angelico. These
frescoes were the first in Italy in which the nude
figure was prominent. A comparison with those
of Michelangelo in the Sistine Chapel, shows how
much the latter was influenced by Signorelii's ex-
ample, which, by the impulse it gave to the study
of the nude, makes an epoch in the history of art.
Signorelli spent his later years at Cortona, where
he died in 1523. He signs his name in various
ways. 'A Dead Christ,' in the cathedral of
Cortona, is signed Lucas .fficiDii Signorelli Cor-
TONENSIS MDII ; some frescoes in the Pandolfo-
Petrucci Palace, Siena, are inscribed AOYKAI!
O KOPITIOS EnoiEI ; the form Lucas Coritius
appears on a picture in the National Gallery.
Arcevia. iS. Medardo. A Madonna.
Arezzo. Gallery. An Altar-piece.
Berlin. Museum. The School of Pan.
„ „ Two Groups of Saints.
Borgo S. Sepolcro. & An- \ The Mourning over tlie Body
tonio Abhate. j of Christ.
Citta da Castello. <S. JDome- 1 A Martyrdom of S. Sebas-
nico. J tiau.
„ S. Cecilia. A Madonna with Saints.
„ „ A Madonna Enthroned.
„ Pal, Mancini. An Altar-piece.
Cortona. Cathedral. Pieta.
„ The Last Sapper.
„ „ The Descent from the Cross.
„ „ The Incredulity of St.
Thomas.
„ „ A Lunette with a Madonna.
„ Ch. di. Gesu. Adoration of the Shepherds.
„ Compania di S.\A. panel with the dead Christ
Niccolo. j" and the Virgin.
„ S. Domenico. A Madonna with Saints.
Florence. Academy. A Madonna.
„ Uffizi. A Madonna.
„ „ Two Prophets.
„ Fitti Pal. A Madonna.
„ Corsini Pal. A Madonna.
„ Torrigiani Pal. Male Portrait.
Fojano. Collegiate Chapel. Coronation of the Virgin.
London. National Gal. Triumph of Chastity.
„ „ The Circumcision.
„ „ The Nativity.
Loretto. Frescoes in the Church.
Milan. Brera. The Scourging of Christ.
„ „ The Virgin Suckling the
Infant Christ.
Paris. Louvre. Birth of the Virgin.
„ „ Adoration of the Magi.
Perugia. Cathedral. Madonna Enthroned.
Rome. S. Gregorio. St. Michael and the
Apostles.
Siena. Academy, .^neas flying from Troy.
„ „ Eausom of Prisoners.
497
SigrilU
A BIOGRAPHICAL DICTIONARY OF
Silvestre
Siena. S. Domenico. Adoration of the Child.
„ Pandolfo Petnieei Pal. Frescoes, some fragments
of which are in England,
among them the ' Triumph
of Chastity,' in the National
Gallery.
Urbino. FarocMadi ) Christ on the Cross.
Spirito Santo, j
Volterra. Cathedral. The Annunciation.
„ S. Francesco. Virgin, Saints, and Angels.
SIGEILLI, B., an Italian engraver, who flour-
ished 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, Geoes VlOTOE, 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 born 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
DB, Duchess of Huescar and Arcos, born December
14, 1760, 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 Jos^ 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, Heneiquez JosjS de a Portuguese painter,
who was practising about 1800. He held the post
of Director of the Academy of Painting at Bio
Janeiro.
SILVESTRE, (Sylvester,) a Scoto-French family
of artists, flourished in France from about the be-
ginning of the 17th century. Tlie following table
shows the relationship of its members :
Gilles(1590?— ).
Fran?nls (1620 ?— ).
larM (1621— 1C91).
Charles Francois Louis the elder Alexandre Louis the younger
(1667-1738?). (1669—1740). (1672- ). (1676-1760).
Nicholas Charles (1698— 1767). Suzanne Elisabeth (1694— ).
Jacques Augustin (1719—1809).
Augnstin 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 Feanqois, Baron de,
painter and draughtsman, the son of Jacques
Augustin, and the last representative of the
family, was born in Paris, December 7th, 1762.
He studied under his father, and in Rome, hoping
to succeed to the office of drawing-master to the
royal children, which had been held by members
498
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 XVIIL)- 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
XVIIL at the Restoration, receiving the title of
baron. After the Revolution of 1830 he retired
into private life, and died in Paris in September,
1861.
SILVESTRE, Charles FRANgois 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. Parrocel, 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 III.
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 horn 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,
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 Scsannb,
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 Kome and the environs ; in-
scribed Faites par Israel Silvestre, et viises en lumiere
par Israel Henriet.
Twelve Views of gardens and fountains ; entitled A Icune
vedute de Giardini e Fontane di Roma e di TivoU, ^c.,
with descriptions in Italian.
Four Views in the Kingdom of Naples, in the form of
friezes.
Silvestre
PAINTERS AND ENGRAVERS.
Simmons
A set of sixTiews 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 Sella.
A View of Paris, from the Bridge of the Tuileries,
A large View of Eome ; four sheets.
Two Views of the Oampo Vacoino, and the Coliseum at
Eome.
The grand Carousal, or Eoyal Entertainment at Paris in
] 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 Diverses;' seventy-four views of Palaces,
churches, &c., in France and Italy.
' Vues Diverses de Eome et d' Italie ; ' one hundred and
five views of Italian scenery.
SILVESTRE, Jacques Augustin de, painter,
the Bon 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, Louis, 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 Boullogne, and entered
the Academy in 1702. His election picture, ' The
Creation of Man by Prometheus,' 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, be 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 Frangois, was boni in Paris in, 1698. He
was drawing-master to the royal family, and died
in 1767. The following plates may be named :
Ubaldo and the Danish Knight searching for Einaldo in
the palace of Armida ; after' Le Maine.
A Hunting-piece ; after Audray.
SILVESTRO, an early Florentine painter, was a
Camaldolese 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 Saceo, 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.
K K 2
SILVIUS, Anthony, (SYLVIUS,) whom Papillon
calls Silvius Antonianus, are the supposed names
of a draughtsman and wood-engraver, who used
the monogram /( 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-cuts 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, vignettes, or title-pages.
SILVIUS, Balthasae, a German engraver, who
flourished about the year 1555. 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 Reichenbach,
was born in Stiittgart ia 1761. She painted por-
traits of Schiller and the painter Wachter. She
died at Ludwigsburg in 1827..
SIMBRECHT, Mathias, was born at Munich.
He died at Prague of the plague, in 1680, probably at
an early age, the number of his pictures being very
small. It is not known where he received his first
instruction, but the efi'ects 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, Fkiedbich 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 Sohullen, Booking, and Grieben, while
Achenbach and Scheuren occasionally painted back-
grounds to his cattle. In 1862 he went to live at
AschafEenburg, where he died in 1872. His three
sons all devoted themselves to art. Works :
View of Bergen.
View of Butenheim.
Landscape with Goetz von Berlichingen.
Bull and Sheep. (Berlin, RaczynisM Col.)
Dutch Landscape. (Duke of Cambridge.)
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, born 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
499
Simmons
A BIOGRAPHICAL DICTIONARY OF
Simon
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, horn 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 Frank Stone, and his last exhibited
plate was 'A Humble Servant,' after Roea 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 chief
plates :
Rustic Beauty. 1837.
Catherine Seyton. 1850.
■Well-bred Sitters ; after Sir E. Landseer. 1875.
Dominion ; after the same.
On Trust ; after the same.
Koyal Sport ; after the same.
The Sick Monkey ; after the same.
Taming of the Shrew ; after the same.
The Fatal Duel ; after the savie.
The Proscribed Eoyalist ; after Sir John Millais.
The Lost Piece of Money ; after the same.
Bosalind and Celia ; after the same.
Highland Mary ; after T. Faed.
Daiddy's arcoming ; 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 same.
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 JBolman Hunt,
Claudio and Isabella ; after the same.
News of our Marriage ; after Tissot.
Marriage of the Prince of Wales ; after Frith.
' Luff, boy ' ; after Hook.
An Old Monarch ; after Rosa Bonheur.
A Humble Servant ; after the same.
And plates after Le Jeune, Van Zerius, WinterhaUer,'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, Pedro Siho, also
an artist of some merit.
SIMON DB CHALONS, a French painter of the
16th century, a native of Chalons in Cliarapagne.
From about 1646 to 1665 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 OP Belluna. See Simone da Cusighe.
SIMON, Jean, engraver, a native of Normandy,
born in 1676, 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
600
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 Vaiulyck.
William III. ; after Kneller.
Mary II. ; after Vander Vaart,
Queen Anne ; after Kneller,
George, Prince of Denmark.
George I. ; after Kneller.
George II., when Prince of Wales ; after the same.
John, Lord Cutts ; after the same.
William, Earl of Cadogan ; after the same.
John Tillotson, Archbishop of Canterbury ; after the
same.
John, Lord Somers ; after the same.
Sir William Temple ; after the same.
William, Earl of Cadogan ; after La Guerre.
Horace, Lord Walpole ; after Vanloo.
Half-length of the Princess Mary,daughter of George II.
William Shakespeare.
John Milton.
Alexander Pope.
Joseph Addison.
Bichard Steele.
Peter delivered from Prison ; after Berchet.
The Cartoons ; after Raphael.
Christ and His Apostles ; after Baroccio.
Christ restoring Sight to the Blind ; after Laguerre.
The Samaritan Woman ; after the same.
Portrait of the Hon. Mrs. Walpole ; after M. Dahl,
Mary Stuart.
Dorastus and Fannia ; after Berchet.
A Pastoral Landscape.
Simon died in London about 1765.
SIMON, Pierre, 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 oim
design.
Anne Marie Louise d'Orleans, Ducbesse de Montpensier ;
the same.
Elizabeth Charlotte, Duehesse d'Orleans ; the same.
Charles d'Ailly, Due de Chaulnes ; after La Borde,
Cardinal Kospigliosi ; after C. Maratii.
Federigo Baroccio, Painter.
Among his historical prints we have :
The Martyrdom of St. Cosmus and St. Damianus ; after
S. Rosa.
Moses and the Burning Bush ; after iV. Poussin.
Simon died in Paris in 1710.
SIMON, Pieeee, called tlie Younger, a draughts-
man and engraver in the olialk and dotted manner,
was born in London before 1760. 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.
Simon
PAINTERS AND ENGRAVERS.
Slmoueau
Scene from ' Henry IV. ' ; after B. Westall.
Scene from ' Komeo and Joliet ' ; after W. Miller.
We may also name :
The 'Woodman ; after Gainslorough.
Square discovered by Tom Jones in Molly Seagrim's
bedroom ; after Dowmtmn.
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. (Hpriani.
The Fair Emmeliue, and a subject from the ' Vicar of
Wakefield ' ; after Stothard.
Pierre Simon died about 1810.
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, Ebanqois, a painter of the Flemish
Bohool, bom at Bornliem 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, GusTAVB Adolphe, the nephew of
Francois 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 ia water-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 Niccolo Massaro. He mast not be confounded
with another Antonio di Simone, who lived in the
17th century, and was a scholar of Luca Giordano.
SIMONE, Maestro. See Dbgl' Avanzi.
SIMONE DA CUSIGHE, (da Belldno,) 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 iu 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. MaTtino. 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 Ghiesetta della
Madonna a few small panels in tempera.
SIMONE de' CKOCIFISSI. 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 estabUshed at Naples. The following
works at Naples are ascribed to Simone :
The Nobles and Statesmen of the Kingdom lamenting
the Death of King Kobert. {In the nave of *J>'.
Chiara.)
S. Louis of France and others at the grave of King
Eobert. 1343. (Refectory of S. Chiara.),
Saint Anthony. 1438. {S. Lorenzo Maggiore.)
S. Louis crowning King Bobert. (<S. Lorenzo Maggiore.)
The Crucifixion, a Triptych. 1412. (/« the IMoino.)
Madonna della Bosa. (S. Domenico Maggiore.)
A Virgin and Child. (S. Domenico Maggiore.)
One Francesco 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 instructed
by Noel Coypel and Guillaurae Ghasteau. His first
plates were executed with the graver only, in a style
resembling that of 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 Bumee.
3. H. Mansart, Architect to the King ; after de Troy.
George Villiers, Duke of Buckingham.
The Holy Family ; after Raphael.
The Virgin and Child, with S. John ; after the same.
The Adoration of the Shepherds ; after Ann. Carraeci.
Christ and the Woman of Samaria ; after the same.
Hagar and Ishmael ; after Andrea Sacchi.
A Madonna ; after Fra Bartolommeo.
The Stoning of Stephen ; after Ann. Carraeci.
Christ, with Martha and Mary ; after Domenichino.
Christ's Entry into Jerusalem ; after C. Le Bi-un.
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 Bvhens.
The Conquest of Franche-Comt6 ; after C. Le Brun;
his best print.
SIMONEAU, Louis, the younger brother of
Charles Simoneau, was born at Orleans in 1654.
He appears to have formed his stjle 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, Aichbishop of Albi.
Antoine Amauld ; after Ph. de Champagne.
Antoine le Maitre, Advocate ; after the same.
Martin de Charmois, Councillor ; after Seb. Bourdon.
Susanna and the Elders ; after Ant. Coypel.
Lot and his Daughters ; after the same.
Christ with Martha and Mary ; after the same.
Christ bearing the Cross ; afier Ant. IHeu.
The Elevation of the Cross ; after the same.
The Crucifixion ; after the same.
The Assumption of the Virgin ; after a ceihng by Le
Brun 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
Soeaux ; in four plates ; after the same.
SIMONEAU, Philippe, the son of Charies 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, aud the Peace between the
Eomans and the Sabines ; after the pictures by Giulio
501
SimoueUi
A BIOGRAPHICAL DICTIONARY OF
Singleton
Bomano {? Binaldo Mantovano) in the National
Gallery.
The three Goddesses preparing for the Judgment of
Paris ; after Perino del Vm/a.
Venus and Adonis ; after Albano,
SIMONELLI, Giuseppe, a Neapolitan painter,
born 1649. Originally the servant of Luoa 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. Ho died in Paris
ill 1810.
SIMONETTI, DoMENico, (called Maqatta,) 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 Suffragio, at Rome.
SIMONINI, Francesco, horn 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 1763.
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 stilUife, of the
17th century. His works are mostly in America.
SIMPLIOE, a Veronese monk, who was the pupil
of Felice Riocio (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 Clamecy, was a pupil of
Boullogne. 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
Stamford, 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 iu 1847.
In the National Gallery there is a ' Negro's Head '
by him, and at Windsor Castle a portrait of the
Duke of Brunswick.
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, he found
access to a society of Artists, witli wliom he studied
the figure. He was afterwards employed by Tille-
inans to engrave his picture of Newmarket. To
this plate he affixed his name. He also engraved
after Monamy, Vandevelde, Wootton, and Wyck.
He lived about the year 1710.
502
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 Angels,' after
Filippo Lauri, dated 1728, and a ' Charles I.,' after
Vandyck.
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. iS-
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.'
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. {South Kensington Museum.) 1842.
Gil Bias and Laura. (Do.)
Two Water-colour Drawings. (2)o.)
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. (Bowood House.)
SINGHER, Hans, (or Jean,) was born at Heese-
Cassel about the year 1510. He painted landscapes,
with 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,' ' Chiist 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 Plostages' ; all of which were engraved in
mezzotint, and were popular for a time. Two pic-
Sinibaldi
PAINTERS AND ENGRAVERS.
Skelton
tures of his belonging to the 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, Sabah 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, Qeerit 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, Hbinrich, (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 himself.
Cassandra ; after Hickel.
SINTZENICH, Pieter, (Sinzenioh,) engraver,
brother of Heinrich Sintzenioh, was in London iu
1789. He engraved ' The Truce between the
Romans and Sabines,' after Raphael.
SIPMANN, Gerhard, (SiPPMANNr) painter, born
at Dusseldorf 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. Baptism of Christ.
„ Pinacoteca. The Infant Christ, with S.
Anthony of Padua in Adora-
tion. And eight others.
Munich. Pinakothek. 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 Eosary, with the
infant Jesus ; from her own design^
The Virgin weeping, surrounded by Angels, and con-
templating the emblems of Christ's Passion ; Elisa-
betta Sirani, F. 1657.
The Holy Family ; after Raphael ; Elisaletha Sirani, sic
incisum exposuit.
The Mother of God; after the same.
St. Bustacius kneeling before a Crucifix; EHsabetha
Sirani, f. 1656,
The Decollation of St. John ; Elhta. 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 stjde 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. Marino. The Crucifixion.
„ Certosa. The Feast at the House of
Simon the Pharisee.
„ S. Giorgio. Marriage of the Virgin.
„ Finaeoteca. 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 Lucrefcia.
SIRCEUS, 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
Rigaud. 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 Uffizi. She died about
1770.
SISSON, — , an Irish portrait painter of the 18th
century. Burke speaks of having had his portrait
painted by him in miniature.
SIXDENIERS, Alexandre 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 in the Desert; after Vernet.
Arab praying ; after the same.
Edward I. iu Scotland ; after Belaroche.
Napoleon and the King of Home ; after Steuben.
SJOLLEMA, Thierry Piebes, a Dutch painter of
landscapes and sea-pieces, born at Terbantsterohans
in 1760. His works are almost entirely confined to
Priesland. There are two pictures by him in the
museum at Leeuwarden. He died at Heerenwal in
1840.
SKELTON, Joseph, engraver, flourished e^rly
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.
' Uxouia Antiqua Bestaurata.' 1823.
' Antiquities of Oxfordshire.' 1823.
'Pietas Oxopiensis.' 1828.
' Meyrick's Arms and Armour.' 1830.
' Chateau d'Eu illustrS.' 1844.
' Galeries bistoriques de Versailles.'
Girault's ' Beautis de la France.' 1850.
503
Skelton
A BIOGRAPHICAL DICTIONARY OF
Sluyter
SKELTON, William, 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 III. 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, John F., water-colour painter, practised
in London, and was a member of the Institute.
He painted landscapes and sea-pieces, and oc-
casional figure studies. His works were character-
ized by much delicacj' and refinement, but failed to
attract popular attention, and the artist is said to
have died of a broken heart, March 8, 1881. His
'Sheep in a Turnip Field' and ' Walmer Castle'
are in the South Kensington Museum. Other works
are; 'Rising Tide,' ' By the Sea,' 'Thames Lock
in June,' ' Her First Ball'
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 engraved in chiaroscuro a number of subjects,
chiefly after the designs of Parmigiano, Correggio,
Raphael, and other masters of the Italian Sclaool,
which he publislied 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.
SKIRVING, Archibald, painter, was born at
Haddington in 1749. He studied for some time in
Rome, and towards the close of the IBtli 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-
hatfa Falls. He died in 1835.
. SKOOVGAAED, Peter Kkistian, a Danish
landscape painter, was born at Hammerbus, 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 Christian 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, Karel, (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
504
Museum at Amsterdam, an interior with a woman
cutting bread, and two children praying. In 1645
hewas living in Amsterdam, but he is supposed to
have been a native of Middelberg, where he was
buried in November, 1664.
SLANGBNBURGH, Karel Jakob Baar van, an
obscure painter of portraits and interiors, was bom
at Leeuwarden in 1783. He died about 1850.
SLANGENSCHILDER. See Veomans.
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,!., 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
afterwards 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 he died at the age of
fifty-one, October 16, 1869. His ' St. Paul's, from
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 Exhibitions.
SLEMPOP. See Virschen, Theodoe.
SLINGELANDT, Pieteb Cornelisz van, born
at Leyden in 1640, was a pupil of Gerard Dou.
He followed the style of his 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 rufl^ He died in 1691. His
chief works are :
Amsterdam. Museum. Violin Player. Signed P.
V. Slingei-land fecit.
Dresden. Gallery. The Music Lesson.
„ „ A Singing Woman.
61a.sgow. Gallery. The Doctor's Visit.
„ ,. A Musical Party.
London . Bridgev'ater Hmise. Cooks with Partridges.
Munich. Pinakothek. A Tailor's Shop.
,, ,, A TVoman at a Window.
Paris. Louvre. The Meerman Family.
Petersburg. Hermitage. A Family Group
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.
SLUYTER, P., a Dutch engraver who flourished
about the year 1700. He was principally employed
Smak-Oregoor
PAINTERS AND ENGRAVERS.
Smirke
in engraving frontispieces and other book orna-
ments for the publications of Peter Van der Aa.
SMAK-GRBGOOR, Gillis, painter of landscapes
and animals, was born at Dordrecht in 1770. He
was the nephew and pupil of the Van Strys, and
also studied under Versteeg and Van Leen. He
died in 1843.
SMALLWOOD, 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, miniature painter, bom about
1740, was a pupil of the St. Martin's Lane Academy.
In 1783 he went to Ipswich, and exhibited
miniatures at the Academy up to 1788, when he
went to India, where he met with great success.
He returned to England after about five years, and
settled in London, where he died in 1811.
SMART, Samuel Paul, a painter of miniature
portraits, practising in London. He exhibited 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 Jari Both.
These etchings consist of landscapes enriched with
figures, animals, buildings, and ruins ; and are
signed J. Smees in. et fecit.
SMETS, Cheistian, 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 ^gidius,) the elder, born
at Mechlin in 1636, 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 1667
Gillis Smeyers was made free of the Guild of S.
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 Eesurrection of Lazarus.
And other works at Mechlin.
SMEYERS, Gillis, (or ^gidius,) the younger,
painter, was the son of Jakob Smeyers, and was
born 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 bad 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 Belgioa,' 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 Chanoiue de Laet. (Grand Seminary.)
Fall of the Angels.
History of S. Dominic. (Church ofS. Jiomiaut.)
Pentecost. (Convent of the Black Nuns.)
Allegorical Groups. (Convent of the Soeurs MaricoUes.)
Portrait of Cardinal d' Alsace de Bonssu. (Museum.)
The Deans of the Tailors' Guild in 1735. (Museum.)
Episode in the History of the Dominicans. (Museum.)
Portraits of Children. (Notre Dame, Hanstoyck.)
Several Pictures. (Church of Assclie.)
. SMEYERS, Jakob, painter, born at Mechlin in
1667, 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, (Smybbet,) 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 difiioulties
he was tempted to embark in the scheme of the
Bishop 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 1825.
SMIRKE, Richard, antiquarian draughtsman,
born in 1778, was the Ijrother of Sir Robert Smirke,
and was brought up an artist, studying in the
Academy schools, whi're he gained a gold medal
in 1799. Eventually be 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 6, 1815.
505
Smirke
A BIOGRAPHICAL DICTIONARY OP
Smith
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 the 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.
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
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, Ankek, 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 afterwards 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 teacher. 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 him 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 Correga-io.
He died in 1819.
SMITH, Benjamin, an engraver in the chalk
and dotted mannei-, was born in London ; the year
of liis birth is not_ clearly ascertained. He was a
pupil of Bartolozzi, and was one of the ena-ravers
606
employed by Boydell on his 'Shakspeare Gallery,'
some of the best plates in which are by him. He
engraved 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. Rigand.
An Allegory of Innocence ; after tlie same.
Sigismuuda ; after Hogarth.
Bacchus ; after Sir J. Reynolds.
Shakspeare nursed by Tragedy and Comedy, and
The Infant Shakspeare attended by Nature and the
Passions ; both after Romney.
An equestrian Portrait of George III. ; after Beechey.
The Portrait of Napoleon ; after Appiani.
William Hogarth and his Dog ; after Hogarth.
The Marquis Comwallis ; after Copley.
The Annual Ceremony of Administering the Oath of
Allegiance to the Lord Mayor elect, &c.
Scene from ' Eichard II.' ; after Mather Brown.
Smith died in 1833.
SMITH, Charles, portrait painter, native of the
Orkneys, studied in London. In 1793 he 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 ho published
a musical entertainment, in two acts, called a ' Trip
to Bengal.' He etched his own portrait. He died
at Leilh in 1824.
SMITH, Chaeles 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.
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 Effigies,' Cart-
wright's ' Rape of Bramber,' Murray's ' lUustrations
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 Acadeuiy in
London. He went to Italy and Belgiuhi, 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. Oallery. Portrait of Lord Jeffrey.
London. Nat. Port. Gall. Portrait of Sir Walter
Scott.
SMITH, CoNSTANTiN Louis Felix, 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
Smith
PAINTERS AND ENGRAVERS.
Smith
1817, and his best known works are to be found in
the following galleries :
Amiens. Museum. Andromache at Hector's
Tomb.
Nismes. „ AthaliaVs Dream.
Orleans. „ An Italian Landscape.
Versailles. GaZlery, Amerigo Vespucci.
J, „ Louisa of Savoy, Duchess of
AngoulSme.
„ „ Mary Adelaide of Savoy,
Duchess of Burgundy.
His portrait of the Regent Philip of Orleans
was destroyed in the pillage of the Palais Royal
in 1848.
SMITH, Edward, an English engraver, who
practised early in the 19th century. 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.
She was a member of the short^Kved 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
from the 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 Blincl 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 ~
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-tliree s:nall 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, George, painter, bom 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 illrhealth, and died October 15, 1838.
At South Kensington there is by him, ' Scipio
Africanus receiving his son from the Ambassadors
of Antiochus.'
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. Catterson, painter, born at Shipton
in Yorkshire, in 1806, studied in the Academy
schools in London, and occasionally exhibited at
the Royal Academy ; but about 1839 he went to
Ireland, settled for a time in Londonderry, and
afterwards in Dublin, where he became the most
fashionable portrait painter of the day. He was
a member of the Royal Hibernian Academy, and
ill 1859 was elected president, a distinction which
he resigned in 1866. He died in Dublin, May 31,
1872. Works :
Dublin. National Gallery. Portrait of himself.
„ „ Portrait of W. Dargan.
„ Mansion House. Portrait of Queen Victoria.
„ City Hall. Portrait of Daniel O'Conuell.
,j ' Castle. Portraits of several Viceroys.
London. Smith Kensington 1 portrait of Lord Dungannon.
Museum. j
SMITH, J. John, landscape painter, born 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 bis time. He is said to have served an
apprenticeship to one Tillet, a painter in Moorfields.
As soon as he became his own master, lie 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.
607
Smith
A BIOGRAPHICAL DICTIONARY OP
Smith
Meinhard, his Son, when Duke of Leinster.
■William III. | Queen Mary II.
George, Prince of Denmark ; an oval.
Queen Anne, when Princess of Denmark.
John Churchill, Duke of Marlborough.
John, Duke of Buckingham.
Charles Sackvllle, Earl of Dorset.
Charles, Earl of Halifax.
Arnold, Earl of Albemarle.
William, Earl of Jersey.
Catherine, Duchess of Eutland.
Frances Bennet, Countess of Salisbury.
Mary Somerset, Duchess of Ormond, with a black Boy.
Henrietta, Duchess of Bolton.
Sir Eichard Steele. Joseph Addison.
Alexander Pope. William 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 Her
Vaxirt.
James Fitzroy, Duke of Monmouth ; after Wissing.
Godfried Schalcken ; after a picture by himself. ,
Charles XII. ; aftm- D. Craft. 1701-2.-
William, Duke of Gloucester, and Benj. Bathurst ; after
T. Murray.
Thomas Murray, Pictor ; au oval.
W. Wycherley ; after Sir P. Lehj.
Gulielmus Cowper, Chyrurgus ; after J. Closterman.
The Loves of the Gods, ten Plates ; after Titian.
Venus standing in a Shell ; after Co7-reggio.
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. Schalcken.
The Story of Actaion, small figures ; after P. Berchet.
M. Magdalene ; after G. Schalcken.
The Angel and Tobit ; after Elsheimer.
SMITH, John, known as Warwick Smith, was
born at Irthington, Cumberland, in 1749. He was
one of the early draughtsmen 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 them are in the South Kensington Museum.
He was President of the Water-Colour Society in
1816. He died in London in 1831.
SMITH, John Obrin, an English wood-engraver,
born 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. Amongst 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.
Cowper'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
1762. 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
608
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 ; he also painted figure subjects in
a style between those of Morland and Wheatley.
Among bis 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.
Eichard Eobinson, Archbishop of Armagh.
Joseph Dean Bourke, Archbishop of Tuam.
Lady Beatmaont.
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 (Egalit6).
The Student.
The Calling of Samuel.
(The above are all after Reynolds.)
Vice- Admiral Sir Hyde Parker ; after Ufarthcote.
Miss Coghlan ; after Gainsborough.
Mrs. Siddons, as the Grecian Daughter ; after Lawrence.
Edw. Wortley-Montagu, as au 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 Rusca.
Admiral Lord Duncan ; after Danloux.
Martin Eyckaert ; after Van Dyck.
Woodward, as Petrnohio ; after Van der Gucht.
Four crayon portraits by Raphael Smith are in the
South Kensington Museum.
SMITH, JoHK Thomas, engraver and writer, was
bom in 1766. His father, Nathaniel, had been a
pupil of Roubilliac, and had formed an early friend-
ship with the younger NoUekens. At the age of
thirteen John Thomas Smith was introduced to
the studio of NoUekens, to whom bis 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 be 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 1816, 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 ' NoUekens and his Times.' His ' Book for a
Smith
PAINTERS AND ENGRAVERS.
Snayers
Rainy Day ' appeared after his death. He died in
London, after a short illness, in 1833.
SMITH, JosEi'H Clarendon, water-colour painter
and engraver, was born in London in 1778. His
father, a builder, left his son without provision, and
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 Killarney.' 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, Samuel, engraver, bom in London about
1745, practised in landscape, and completed some
good plates, such as ' The Finding of Moses,' after
Zuccarelli, and a ' Niobe,' after Wilson.
SMITH, Samuel S., an English engraver, born
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. Agues j after Domenichino.
SMITH, Thomas, an ingenious English land-
scape painter, who resided chiefly at Derby, and
was usually styled Smith of Derby, to distinguish
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 Correggio, 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, T'oM, 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 Shopviryke, near Chichester, in 1764.
SMITH, William Collingwood, an English
water-colour painter and popular teacher, was born
in 1815. In 1843 he was elected an associate, and
in 1849 a member of the Society of Painters in
Water-Colours. His work was distinguished by
breadth and delicacy rather than by strength.
Many of his subjects were taken from Roman re-
mains in Italy and elsewhere. Two of his drawings
are in the Soutli Kensington Museum. He died in
1887, and a small collection of his works was ex-
hibited the following winter in the Gallery of the
Royal Society of Painters in Water-Colours.
SMITS, Fbans Marcus, a Flemish painter', bom
at Antwerp in 1760. In 1779 he was studying at
the Academy at Antwerp. He was also a pupil of
A. de Quertemont. He died at the Hospital of
S. Elizabeth in 1833, after a life 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, LUDOLP, (or LuDEWTK,) called Hakt-
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 1676.
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 ef 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 Smuglewicz.
SMYTERS, (or De Smytere.) See De Heere.
SMYTH, John Talfourd, 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 Sapper ; after JVilkie.
Tartars dividing their Booty ; after Allan,.
The Last in ; ^ter Mulready.
SNAPHAAN. See Schnaphan.
SNAYERS, Hendrik, (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 a
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 Yan Noort ; after jordaens.
The Virgin seated upon a step, surrounded by several
Saints ; aftfr Huhens.
The Fathers of the Church ; after the same.
The Death of St. Francis ; after the same.
He also engraved some plates from Titian and
other masters, and a few portraits. He signed his
engravings Heinrich Snyers and H. Snyers.
SNAYERS, Pieter, bom at Antwerp in 1593,
was a scholar of Sebastian Vrancx. Although
he painted history and portraits with considerable
success, he distinguished himself more by his
509
Snellaert
A BIOGRAPHICAL DICTIONARY OF
Snyers
battles and landscapes. He was patronized by the
Archduke Albert, who appointed Mm 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 ia a good 'Cavalry Skirmish' at Dulwich,
and a fine ' Battle of 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, painter, the son of
Willem Snellaert, practised at Courtrai in the
second half of the 16th century. The dates of
his birth and death have been given as 1542 and
1602 respectively, but have not been satisfactorily
established. He was a pupil of Charles d'Ypres,
and passed the greater part of his life in Holland.
He helped his master with a large 'Last Judg-
ment,' for the village of Hooglede, and is said to
have died at Dordrecht.
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 emploj'ed, 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 1576 ; Daniel, born
1576 ; Gerabd, born 1577 ; Andries, born 1587 ;
Abraham, born 1597. Snellinck died at Antwerp
in 1638. Works:
Mechlin. Ch.ofSt.},,,, „ ..
Eoviiia. JTheKesurrection.
GMetif: } Descent of the Holy Ghost.
Oudenarde. Ch. of St. 1 mi, m <= i-
Walbirga. j ^"^^ Transfiguration.
" ^'-Ifj;'-^] Creation of Adam.
SNELLING, Matthew, portrait and miniature
painter, practised in the reign of Charles II., paint-
ing heads, chiefly of ladies. There is a portrait
510
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.
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 Terwestbn, Augdstinds.
SNUFFELAER. See Sohbieck.
SNYDERS, Fbanz, 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-life, 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, wlio
frequently intrusted him to paint the animals, fruit,
&o., 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 III. 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 than 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 and Dogs.
Berlin. „ Fight between Bear and Dogs.
Dresden. Gallery. Kitchen, with portraits of
Bubens and his Wife, by
himself.
Edinburgh. Mit. Gallery. A Wolf Hunt.
„ „ Miscbievous Monkeys. {And
two more.)
Florence. Uffizi. A Boar Hunt.
Hampton Court. A Boar Hunt. (And three
more.)
Madrid. Museum. Twenty-one pictures of hunts,
&o.
Munich. P'makothek, Interior of a Kitchen.
„ „ A Boar Hunt.
„ „ A Lioness killing a Wild Boar.
Paris. Louvre. A Stag Hunt.
9, „ Paradise.
i> „ Animals going into the Ark.
»» „ A Boar Hunt.
The Hague. Museum. Stag Hunt. {Landscape h/
RuJiens.)
n J) Kitchen, with game and vege-
tables. (Figures h/ Sulms.)
SNYERS, Pietek, 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 liave
painted portraits of various members of the
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, Pieter 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
Sobleo
PAINTERS AND ENGRAVERS.
Sokoloff
are coDsequently very scarce. His subjects were
hunting-scenes, and he excelled in those of small
size. He died in 1757.
SOBLEO. See Desubleo.
SOBRINO, Dona Cecilia, nee Morillas, bom
1538, 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.
SODBRMARK, Olaf Johan, painter, was born
at Stockholm in 1790. He was an ofScer in the
Swedish Army, and served in several campaigns
before he decided upon an art career. In 1819 he
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 him, 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, Maueo, 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 the 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.
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 Jaeentts.
S0G6I, 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 charohes. In La Madonna
delle Lagrime a ' Nativity ' represents him fairly.
In 1650 he was in Rome, and working for the
Pope. He died at Arezzo in 1654.
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
a 'Miraculous Conception,' with Saints, formerly in
Santa Maria Nuova, Florence. One of his earliest
works was a ' S. Martino,' in Or San Michele,
Florence. In 1621 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 1544.
S06LIARI, IL. See Gatti.
SOGNI, Giuseppe, an Italian painter, born 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 Palos. (1829.)
The Death of Raphael.
The Rape 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, Karl Ferdinand, historical and portrait
painter, born at Berlin in 1806, studied first at the
Berlin Academy, and then in the private atelier of
W. Sohadow, 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 :
Diana in the Bath. | The Two Leonoras.
The Judgment of Paris. Romeo and Juliet.
The Sisters. | Vanitas.
Girl playing the Lute. {Berlin National Gallery.)
Hylas seized by Water Nymphs. (.Do.)
Rinaldo and Armida. {Do)
Portrait of a Young Lady. \Do.)
He died at Cologne in 1867.
SOIGNIE, Jacques Joachim db, 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.
SOIDS, 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.
511
Solario
A BIOGRAPHICAL DICTIONARY OF
Solimena
SOLARIO, Andrea, (or, as lie sometimes signed
himself, Andreas Mediolanensis,) was bom at
Milan about 1460, and together with his brother
Cristoforo, called II Gobbo (the hunchback), a
sculptor of repute, went to Venice about 1490. In
1495 he painted a 'Virgin and Child, with S.
Joseph and S. Jerome,' for the church of S. Pietro
Martire, Murano ; and in 1499 he returned to Milan,
where he hnished the ' S. Catharine' and ' S. John
the Baptist,' now in the PoMi Pezzoli Museum. In
1507 he painted ' The Head of S. John the Baptist,
in a Charger,' and in the same year went to France
at the invitation of the Cardinal d'Amboise, and
assisted in decorating the Chftteau Gaillon, where
he painted a ' Nativity,' and completed the designs
for that ornamentation of the chapel which
was destroyed in the Revolution of 1793. The
account-books of the Chfiteau Gaillon record that
Andrea and his assistant received for the expenses
of their journey seventy crowns, fo:- a year's wages
three hundred and seventy livres, and one hundred
livres extra for expenses, while the French artists
employed only received four sous a day. In
1513 Solario was engaged in conjunction with
Andrea da Salerno in decorating the chapel of
S. Gaudenzio at Naples. Solario was great as a
portrait painter. One of his best works is the por-
trait of Maximilian Sforza, now preserved in the
Casa Perego, Milan. About 1515 he finished the
' Holy Family,' in the Poldi Pezzolj Museuin, and
in the same year received a commission to paint an
' Assumption of the Virgin ' for the Pavian Certosa.
This he seems to have left unfinished at his
death, wliich took place at Milan about 1515.
The work was completed by Bernardino Campi.
Bergamo. Gallery.
Brescia. Gallery.
London. Natioiuil Gall.
Milan.
Brera.
Foldi Pezzoli 1
Museum. J
Paris.
Louvre.
Pavia. Certosa.
Petersburg. Hermitage.
„ LeucJiteniherg
Gallery.
Rome. Sorghcse.
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.
{Probably the portraits of Alphonso V., King of Arragon,
Sicily, and Naples, and of Joanna II., Queen of Naples.)
S. Ambrose in Episcopal Dress.
S. Louis, Bishop of Toulouse.
Madonna with Saints.
Ascension of Christ.
A Madonna.
Munich. • Pinakothek.
Naples.
»>
Paris.
Museum.
Monte Oliveto,
Louvre.
Ecce Homo.
Christ bearing His Cross.
Portrait of Giovanni Cristo-
foro Longoui.
Portrait of a Venetian Senator.
Virgin between S. Joseph and
S. -Terome. Signed an;l dated
1495. This picture was re-
moved from Sau Pietro Mar-
tire, at Murano, and given to
Brera by the Viceroy, Eugene
Beauhamais.
S. Catharine.
S. John the Baptist.
Virgin, lufant, and S. Joseph.
A Eiposo (dated 1515 ; his last
known worlt).
The Virgin of the Green Pillow.
Portrait of Charles d'Amboise.
(Chaumont. Sig. Morelli
thinks it is the portrait of
Louis XII.)
The Crucifixion.
The Head of S. John the Baptist.
Altar-piece — The Assumption.
(Finished by B. Campi.)
Columbine. (Ascribed to Lnini
in the catalogue.)
) Virgin and Child with the infant
J St. John.
Christ on the way to Calvary.
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 Matsys,
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
612
Solario died at Naples in 1466.
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.
SOLEMACKER, 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 his art in the Hague Museum.
SOLERI, Giorgio, painter and sculptor, and a
native of Alessandria, flourished in the 16th 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 painler of portraits he
holds a respectable position. An altar-piece, in the
church of the Conventuali, at Alessandria, represent-
ing the Virgin, tb whom SS. Augustine and Francis
are recommending the city of Alessandria ; and a
S. Lorenzo kneehng 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 1587.
SOLPAROLO, IL. See Tavella.
SOLIMENA, Francesco, (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
Solimena, 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
Soils
PAINTERS AND ENGRAVERS.
Solvyns
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 167'
where lie first became a disciple of Franceses^!
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 Galabrese, Guido, and Carlo Maratti were his
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 Royal 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. Solimena was also a poet and
musician. He died at Naples in 1747.
Dresden. Galleiy. Death of S. Francis.
„ „ Abduction of Hippodamia.
„ „ Paris, Juno, and Iris,
„ „ Sophonisba, &c.
Florence. TTffizi. His own Portrait.
,, „ Diana at the Bath.
Genoa. Due. Pal. Triumph of Mordecai.
Madrid. Museum. The Brazen Serpent.
„ „ Prometheus.
Milan. Brera. Meeting of a King and Pope.
„ „ Establishment of a Eeligious
Order.
Naples. S. Paolo. Conversion of S. Paul.
„ „ Fall of Simon Magus.
„ Gesi, Nuovo. Heliodorus driven from the
Temple.
Paris. Louvre. The same Subject.
Rome. Corsini. Entry of Christ into Jerusalem.
„ „ S. John the Baptist.
Vienna. Gallery. Cephalus and Aurora, and
several others.
SOLIS, Francisco db, a Spanish painter, bom
at Madrid in 1629, was instructed in art by his
father, Juan db 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 of 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 De Solis held an academy in his house,
to which all young artists were admitted free
of expense, to draw from the living model. 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.
SOLIS, NiCLAS, engraver of the 16th century, a
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 1668.
SOLIS, Virgil, a German engraver, born at
Nuremberg in 1514. He engraved both on wood
and on copper, chiefly from his own designs. The
VOL. II. L L
copper-plates worked in the early part of his life
resemble those of Hans Sebald Beham, but when he
terwards engraved after the Italian masters, he
adopted a style more open and spirited. His
woodcuts are similar to those of Jost Ammon,
with respect both to composition and execution.
His works prove him to have been a man of
ability, though his design is formal and stiff.
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, Y^' "J^ 'T$' He died in 1562. Among
his multifarious productions are the following :
PLATES.
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 the
Gods, Parnassus, and other subjects ; after Raphael.
The Bath of the Anabaptists ; copy from Aldegrever.
WOOD-CUTS.
Several sets of small historical subjects from the Bible.
The Metamorphoses of Ovid, in one hundred and seventy
cuts ; published at Frankfort in 1563.
A set of cuts for Nicholas Eeuser's Emblems. 1581.
Another for the Emblems of Andreus Alciatus. 1581.
A series of French Kings from Pharamond to Henry HI.
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. Stefano 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 born 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' (1869), estab-
lished his reputation. Other pictures by him
which have become well known through engrav-
ings are, ' Third class — the Parting,' and ' First
class — the Return' (1864), ' Le Malade Imagiu-
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 m
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 SCULTOB M.D. XXVII.
SOLSERNUS. This name, with the date 1267,
appears on a large mosaic of the Byzantiue type,
representing Christ enthroned, with the Virgin
and S. John, on the exterior of the Cathedral at
Spoleto.
SOLVYNS, FsANS Baltasae, 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
613
Soly
A BIOGRAPHICAL DICTIONARY OP
Son
hundred coloured platea 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 Brinokworth, "Wiltshire ;
prefixed to his Sermons. 1689.
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,
Michael Adriansz da Euyter, Dutch Admiral ; after
Karel Du Jardin.
Peasants drinking ; after A. Both.
Dutch Boors regaling ; after A. Ostade.
A Flemish Concert ; after Tenters.
A Conversation ; after Terlurg.
A Drinking Party ; after Ms own design.
Abraham and the Angels ; after Pieter Lastman.
He usually marked his plates with the following
monogram .«■ .
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 aflSxed 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 1576, 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. H-e painted two pictures
of James I., one of which was engraved by Vertue ;
his queen, Anne of Denmark, and Lord Bacon
(at Panshanger), 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-five, and was buried in
St. Martin's-in-the-Fields, as appears by the regis-
ter^ January 5, 1621 : Paulus Tansomer pictor
eximius sepultusfuit in ecdesid. Works :
Hampton Court. Christian IV. of Denmark:
„ James 1.
,, Anne of Denmark. 1617.
„ James I. in his robes.
„ Anne of Denmark. Ditto.
London. Jfat. 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 Paris, he came to England, and settled in
514
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 his Secretary. 1670.
The Countess of Meath ; after Miynard.
Tobit burying the Dead Hebrew ; after Seb. Bourdon.
Moses saved from the Nile ; after N. Foussin.
The Baptism of Christ ; after the same.
The Fable of the Old Man and his Ass ; a set of six
etchings ; after Griper.
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, Louis J., a Flemish genre painter,
bom at Antwerp in 1813. 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 bona at
Edinburgh about 1803. He was educated at the
Trustees' Academy. He practised at Edinburgh,
and in 1831 became an associate member of the
Royal Scottish Academy. In the following year
he was promoted to the full membership, but died
shortly after his election, in 1833. His most popular
pictures were ' Flowers of the Forest,' and ' The
Bride of Yarrow. '
SOMMERAU, LuDWiG, draughtsman 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 tapestries
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 Souiman.
Henry, Count of Nassau ; after the same.
Philip of Nassau, Prince of Orange ; after the same.
The Emperor Charles T. ; after Rubens.
Cardinal Ferdinand, brother to Philip IV. and Governor
of the Netherlands ; after Vandyck.
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 Eych,
Frederick Henry of Nassau ; after G. Sonthorst.
Christ with the Disciples at Emmaus ; after Rubens.
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,' after
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 carpets, 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
PAINTERS AND ENGRAVERS.
Sorg'h
SON, JoRls 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 Rheims,
who flourished about the year 1628, imitated the
style of Callot with succ:ess. 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, Bheims.
Porch of Bheims Cathedral.
SONDER. See Cranach.
SONDERLAND, Johann Baptist Wilhei.m
Adolph, painter and etcher, born at Diisseldorf in
1805, was a. pupil of the Academy there, under
Cornelius and Schadow. He produced many genre
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.
SONJB, Jan, 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 Sunman.
SONNE, JoRQEN 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. Qtdlery. Tyrolese defending themselves
among their Mountains.
„ „ The Attack on Duppel, June 5,
1848.
„ „ The Battle of Isted.
„ „ The Sortie from Fredericia,
July 6, 1849.
(^And seven others.)
SONNIUS, Hendeik, a Dutch painter, who
flourished at the Hague about the middle of the
17th century, and was a pupil of Jan van Rave-
steijn. 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
Pliny as flourishing at Rome about eighty-seven
years before Christ.
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.
SORDIGHIO. See Biagio, Bernardino.
SORDILLO DE PEREDA, El. See Dell' Abco.
SORDO, Giovanni del, called Mone da Pisa,
an Italian painter of the 18th century, a pupil of
F. Barocci. 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 1546.
SORDO DI SE8TRI, II. See Travi.
SORDO D'URBINO. See Viviani.
SORE, Nicolas de. See Son.
SORELLO, Miguel, a native of Spain, born 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 after the 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 Fbiedhich, a Danish painter,
bom at Samsoe in 1818. He painted chiefly land-
scapes and sea-pieces. For the study of marine
efl'eots 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 Academy 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, Hbndrik Martenszoon Rokes, (or
ZORG,) 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 amusing 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. Museum. A Fish Market.
Augsburg. Oallery. Peasants Smoking.
Brunswick. „ Labourers in the Vineyard.
„ „ Peasants Conversing.
Dresden. „ A Cook and Fishermen.
London. Nat. Gall. Boors at Cards.
„ „ Man and Woman Drinking.
Munich. Gaillery. A Peasant Family.
„ „ An Ale-house Interior.
Paris. Louvre. A Kitchen.
Petersburg. Hermitage. Peasants Quarrelling.
„ „ A Sea-piece.
515
Soriani
A BIOGRAPHICAL DICTIONARY OF
Sourches
SORIANI, NiccoLO, a Cremonese painter of the
15th century, was the maternal uncle of Garofalo,
to whom he gave some early lessons.
SOEIAU, Daniel, (or Petek,) 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, J^EOMB, a French painter of the 17th
centni-y, the pupil of Mignard. In 1664 he painted
a 'Christ appearing to S. Petef 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 Eiphelieu ; after Nantmil.
Jean Louis, Due d'Epernon ; after the same.
Louis de Bourbon, Admiral of France ; after Mignard.
Marshal Saxe ; after Sigaud.
Diana and her Nymphs ; after Coireggio.
Danae ; after the same.
The Rape of the Sabines ; after L. Giordano.
Peasants regaling ; after Teniers.
He died in 1756.
SORBI, PlETKO, bom at S. Gusm^, 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, Juan de, a Spanish historical painter,
born at Madrid in 1592, 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, LOKENZO DE, bora 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
thera in the public places for a subsistence. He
died in 1688.
SOTOMAYOR, Luis db, 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 Carreiio, at Madrid. After a time he returned
to Valencia, where he enjoyed much success, He
516
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,
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 1776.
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, born 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, bom at Lyons in
1792, was a pupil of R^voil 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.
SOULES,EuGi;NE 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 Amblay in 1831, learned drawing in Lyons,
and then entered the atelier of Guy, and afterwards
that of Bonnef ond, studying engraving under ^'ibert
at the same time. In 1852 he went to Paris, and
worked first in the lllcole 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, &o. He also etched a portrait after
Giorgione, and Titian's Francis I. On hisreturn
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 bom 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 du Bouchet,
Marquis db, Grand Provost of France, and amateur
engraver, was born 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
Sourley
PAINTERS AND ENGRAVERS.
Spa da
Paris from 1640 to 1649. In the Bibliotlilqne at
Paris are preserved nineteen pieces by iiim. 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 Gravies par le Marquis de
Sourches.' According to le Fire Lelong (Biblio'
thgque Historique de France), this artist engraved
the portrait of Madame de Nevelet, the wife of a
counsellor of the Parliament 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 Dame de Qualite.
4. Le Duel.
5. Le Porte-drapeau.
6. La Marchande de vieux
Habits.
7. Le Depart pour la
Chasse.
8. Le Promeneur.
9. Le PSoheur.
10. Le Puits.
11. Les Ramoneurs.
12. Le Batelier.
One of these, No. 4, was ascribed by Mariette and
Gersaint to Delia Bella himself.
SOURLEY, JjSrome. See Sorlay.
SOUTMAN, PlETEB, a Dutch painter and en-
graver, born at Haarlem in 1590, was a pupil of
Rubens, and is said to have 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, unfinished ap-
pearance. The following are, perhaps, his best
plates :
The Fall of the Rebel Angels ; after Jtulens.
The Rout of Sennacherib ; after the same.
Christ giving the Keys to St. Peter ; from, a drawing
by Ruhens^ after Raphael.
The Draught of Fishes ; after the same.
Consecration of a Bishop ; t^er the same.
SOWERBY, James, an Eqglish natural-liistory
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 Blineralogy.' 1804-17.
' 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 db, (SERIOUS, 8YT1CUS,
SORGE, &c.,) engraver, was bom in Holland in
1538, and became a pupil of Cornells Cort, whom
he accompanied to Rome. In 1668 he published a
set of twenty-eight engraved portraits of the Popes.
We have also the following prints by him :
The Angel appearing to Joseph in a Dream ; after Cort.
Christ on the Cross ; after Michelangelo,
TheVirgin with the Infant Christ ; after the same.
A Pieta ; after the same.
S. Francis receiving the Stigmata ; after Zuccaro,
Adoration of the Shepherds ; after the same.
The Angel appearing to Joseph ; after the same.
Adam and Eve in Paradise ; after P. del Vaga.
Judith with the Head of Holof ernes; after Giulio
Clovio,
S. Jerome in a Landscape ; after H. Miinano.
SOYBR, 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. She 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 (16«. %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 d'Heures 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, LiONEi,LO, borp at Bologna in 1576.
His parents were extremejy 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 imder 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 church 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 :
S. Jerome.
S. Dominic burning the heret-
ical books.
Frespoes 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.
Return of the Prodigal.
Martyrdom of S. Christopher.
Maeas and Anchises.
A Concert.
St. Jerome.
The Martyrdom of S. Catha-
rine,
517
Bologna. S. Damenico.
, S. Michele in Bosco.
Dresden.
Florei^ce.
Madrid.
Modena.
s>
Naples,
)j
Paris.
Pinacoieca.
Gallery.
Gallery.
)>
Museum.
)»
Louvre.
Parma. Carmelite Church.
„ S. Sepolcro.
Spada
Eeggio.
A BIOGRAPHICAL DICTIONARY OF
Spencer
Church of the \ j)avid and Abigail.
Madonna, J °
„ Judith and Holofernes.
„ Esther and Ahasuerus.
<, The Virtues.
Pal. Bori/hese. A Concert.
Eome.
SPADA, Lo. See Marescalco, Pieteo,
SPADARO, Micoo. See Gabsiuoli.
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 Spaendonok, born in 1756, was also a painter
of flowers. He was chiefly employed at the Sfevres
porcelain factory, but occasionally painted portraits
in oil. He died in 1839.
SPAENDONCK, Geeaed van, a distinguished
fruit and flower painter, was born at Tilburgh 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. Hia productions
became very popular, and were purchased with
avidity. In 1793 lie was lecturing at the Jardin
des Plantes. The title-page to his ' Fleursdessin^es
d'apres Nature ' informs us that he 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 in the collection of
Louis XVI.
SPAGIASI, GrovANNi, an Italian painter, born
at Eeggio, who died in the service of the King of
Poland, in 1780.
SPAGIASI, Pellegeino, 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 Pieteo.
SPAGNOLETTO. See Ribeea.
SPAGNDOLO. See Giovanni di Pieteo.
SPAGNUOLO, Lo. See Ceespi, Giuseppe Maeia.
SPAGNUOLO Dbgli PESCI, Lo. See Heeeera,
Peancisco de.
SPALTHOF, N., a Dutch painter, who flourished
about the year 1660. He is said by Descamps 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 Helmbrecker.
SPANGENBERG, Feiedeich, 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 Budoxia.' He met
with an accident in going up Vesuvius, and died
in 1874.
SPANZOTTI, Martino, (De Spanzotis,) painter,
a native of Casale, who practised at VerceVli towards
the close of the 15th century, and in whose studio
Sodoma learnt the rudiments of art.
SPARMANN, Kael Cheistian, 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 Arenenberg. From the latter, when he became
518
Emperor of the French, he received a pension. He
died at Dresden in 1865.
SPARVIEE, PiEEEE DE, a French painter, born
1660, was a pupil of Cesare Gennari at Bologna.
He painted portraits and battle-pieces, and occa-
sionally flowers. He settled at Florence, where he
died in 1731.
SPECOHI, Alessandeo, an Italian engraver,
who flourished from 1665 to 1706. He engraved
a set of plates from the palaces and 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 have died 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, Eewin, 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 Schroder. In his leisure he wrote
'Letters of an Artist from Italy.' He died at
Hamburg in 1835.
SPECKTER, Otto, brother of Erwin Speckter,
was born 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,' Bberhard's 'Hannchen und die Kiich-
lein,' 'Puss in Boots,' and Klaus Groth's ' Quickbom,'
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 Mj'tens, 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, bom at
Mechlin in 1748. He painted flowers and fruit,
and practised for some time in his native town,
but lived towards the close of his life at Brussels,
where he died in 1838.
SPEER, Maetin, (or Michael,) a painter and
engraver, was bom at Eatisbon 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. et fecit, 1742. The time
of his death is uncertain, but Zani puts it in 1762.
SPELT. See Van dee Spelt.
SPENCER, Fbeperick, 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 member of
the Academy in 1848, and in 1853 he retired to
Canistota, where he practised until his death in 1875.
SPENCER, Jaevis, (or Gekvase,) a painter in
miniature and in enamel, who flourished about the
Spencer
PAINTERS AND ENGRAVERS.
Spielberg
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 G. S. are probably his. 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, (nee 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.
SPBRANZA, Giovanni, an Italian painter of the
16th century. The dates of his birth and death 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 Ereraitani Chapel, Padua ; both are
in tempera. At the Casa Nievo, Vicenza, is an oil
painting of the ' Virgin and Child.' Other paintings
by this 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.&..
SPERANZA, Giovanni Battista, born at Rome
about the year 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 Orf anelli a ceiling re-
presenting the Passion of our Saviour, in five com-
partments. Speranza died in the prime of life, in
1640.
SPERLING, Hieronymus, 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. PeSel, in 1724. He ajso 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 small historical subjects, was born
at Halle, in Saxony, in 1691. He was the son of
Johann Heinkioh 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 WerfE, at Rotter-
dam, and adopted 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, PiETEE, a Flemish painter of the
17th century, was born at Antwerp, where 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 H6tel de Ville.
SPBY, 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, Colombano, which is per-
haps his best work. He died young, of the plague.
SPICEB, ^ — , 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 Stafford.
SPlCER, Henry, painter in miniature and
enamel, born at Reepham, in Norfolk, was a pupil
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 Sass({ferrato.
Mater Dolorosa ; after Guido.
Venus and Oupid ; after iV. foussin.
Bacchus and Ariadne ; after Gavin Hamilton,
A Woman bathing ; after Jluiens.
SPIELBERG, Adruna, (Spilbbrg,) 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 Spilberg,) 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 Dusseldorf, 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
519
Spierinc
A BIOGRAPHICAL DICTIONARY OF
Spilsbury
was also commissioned to paint some scenes from
tlie ' Life of Christ,' wliich 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 brother.
SPIEEINO, Nicholas, a Flemish miniaturist of
the 15th century. He was working at Brussels in
1469 for the Duke of Burgundy.
SPIERINGS, PiETER, (or Spierinokx,) 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 Eosa. 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.
SPIEERE, 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, FRANgois, born at Nancy in 1643,
went to Paris when very young, and became the
pupil of Francois 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 stj'le 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 SI. ; 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 Ciro Ferri.
St. John preaching in the "Wilderness ; after Bernini.
The miracle of the Loaves and Fishes ; after the same.
Christ on a Gross 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, August Friedrich, engraver, was born
at Castell, in Franoonia, in 1806. He began his
studies at the Munich Academy, under Amsler. His
first works were, 'The Transiiguration,' and a
'Holy Family,' after Raphael, and 'The Last
Supper,' after Leonardo da Vinci. He produced a
620
large number of historical and religious engravings,
and many excellent crayon portraits. He died at
Munich in 1855.
SPIESS, Heinrich, historical painter, bom at
Munich in 1831, was a pupil of the Academy under
Voltz from 1849 to 1866, and studied later under
Kaulbaoh. He was associated with Sohwind 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 Maxirailia-
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 1659.
SPILMAN, Hendeie, 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 Noorde.
His own Portrait ; after the same painter.
Several portraits for Langeudijk's History of the Counts
of Holland.
Six small Views in Holland, on one sheet ; inscribed
Flaizante LandschapieSj S. Spilman, inv. et sculp.
View of the Eokin, Amsterdam ; after J. de Beijer.
He also engraved three landscapes, in the style of
bistre drawings, after Bverdingen, Van Borssum,
and Berchem. He died in Haarlem in 1784.
SPILNBBRGER, Hans, ( Spiels erger,) painter
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 lOCO 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.
Inigo Jones ; aftei- Vandyclc.
Lady Mary Leslie decorating a Lamb ; after Reynolds.
A young Lady with Flowers ; after the same.
Frederick Howard, Earl of Carlisle ; after the same,
•A Boy eating Grapes ; after Rubens.
Spilsbviry
PAINTERS AND ENGEAVERS.
Spisano
Two Monks reading ; after the same.
Abraham sending away Hagar ; after Eemirandt.
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
SpilKbury, 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, Gasparei, (Parbi,) painter of Arezzo,
born in 1387, was the son and pupil of Luca
Spinelli. He afterwards went into the school of
Ghiberti in Florence. The church of S. Doraenico,
Arezzo, contains a ' Crucifixion,' with the Virgin and
figures of three saints on either side, by him, in
fe-esco. 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
de Montepulciano, is still preserved in the cloisters
of S. Bernardo, in his native city. He died in 1452.
SPINELLI, Ldca, commonly called Spinello
Aeetinoj was the son of Luca Spinelli, a Ghibeline,-
who about 1308 had fled to Arezzo, where the
younger Luca was born about 1332. The boy was
apprenticed to Jacopo del Casentino, and before his
twentieth year was a better artist than his master.
Very few of his early 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.
Trinita, 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
remain. In 1361 he was recalled to Arezzo, where
he painted an altar-piece for the Abbey of the
Camaldoli 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
' Annunciation ' 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 he was engaged by
Don Jacopo d' Arezzo, Abbot of S. Miniato, and
General of the Congregation of Monte Oliveto,
to furnish an altar-piece for his 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. Eamboux, 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 and the
Pisan Campo Santo with frescoes. These finished
he again returned to Florence, where in 1400 and
1401 he painted scenes from the lives of SS. Philip
and James for a chapel in Santa Croce, and an
altar-piece for the convent of Santa Felicita, now
in the Accademia at Florence. It is in three
compartments, 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 Niccoli di Pietro, the father of
Lorenzo ; and the figures of St. John Baptist,
St._ Matthew, and St. Felicita 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,
formerly in S. Maria degli Angeli, at Arezzo, repre-
senting the 'Fall of the Rebel Angels.' The
church was destroyed in the present 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
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 Niccol6, 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 PubbUco 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. Madonna and Child with Saints
and Angels. 1391.
Marchese ) A Banner with the Flagellation,
Ranyhiacci. J and Mary Magdalene.
Ifat. Gallery. St. John the Baptist, St. John,
and St. James the Great (?).
„ Michael and six Companions,
from the ' Fall of the Eebel
Angels,' formerly in S. Maria
degli Angeli, Arezzo.
„ Fragments from the border of
the same.
Death of the Virgin.
Florence.
Gubbio.
London.
Siena.
SPINNY, GuiLLAUME 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
621
Splinter
A BIOGRAPHICAL DICTIONARY OF
Sprong
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, Gebeit, 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
etill-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,
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 :
Queeu Anne. | George I. | John Cole, M. D.
SPOLETI, PlER-LoEENZO, a Genoese, born in
1680, was a pupil of Domenico 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 bj' him 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 1762 to 1762, among which are the
following :
Thomas Prior ; nftei' J. Van Nost. 1752.
Major-General Sir "William Johnson; after T. Adams,
1756.
Miss Gunning ; aftei' Cotes.
Miss Smith ; after the same.
George Keppel, Earl of Albemarle ; after Ueynolds.
Lady Selina Hastings ; after the same,
Garrick in the character of Lear ; after Houston.
"Woman with a Candle in her hand ; aftei^ Schalcken.
Peasants regaling ; after Tenier^,
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 born at Antwerp
in 1619. He studied under Rubens ; received the
522
freedom of the Corporation of S. Luke in 1640,
and was dean in 1669. He died in 1690. There
is a picture by him in the Hotel de Ville, at
Antwerp.
SPRANGHER, Baetholomaus, painter, born at
Antwerp in 1646, 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 afteiwards 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 ' Last
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.
Copenhagen. Musnum. The Death of Lucretia.
Vienna. Gallery. Portraits of himself and his
Wife.
„ „ The Virtues of Rudolph II., an
allegory.
And others at Stockholm,
Sclileissheim, Darmstadt, and
Brunswick.
Spranger has left a few etchings, among which
the best is,
A Figure bound to a T.ee, on which the initials B.S.
are reversed.
SPRINGINKLEE, Hans, is said to have resided
in the bouse of Albrecht Dtirer, from whom he learnt
the principles of the art of design, and to have died
about 1540. He was formerly ranked among wood
engravers from the presence of his mark, ^S[\_
on several of the woodcuts in the ' Hortulus
animae cum horis beatse Virginis,' &c., printed at
Nuremberg in 1518, 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 Albreclit Diirer. Neudbrfer calls
him an illuminator, and Thausing believes him to
have been the author of some of the borders in the
Prayer Book of Maximilian,
S PRONG K. See Verspeonck.
SPRONG, Gerard, born at Haarlem in 1600,
was a fair painter of portraits and interiors. He
Sprosse
PAINTERS AND ENGRAVERS.
Stackelberg
died in 1651. There is a balf-lengtli portrait of a
lady by him in the Louvre.
SPROSSE, Kael, 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
he afterwards etched twelve plates. In 1848 he
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.
SPRDYT, 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 adorned with
etchings. 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.
SPYOK, Hendrik 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,
SQUABGIONE, Francesco, the son of a notary,
was born at Padua in 1394. He was at first a
tailor and embroiderer, but, when still young,
turned to the art of painting, and determined to
improve his mind by travelling. Having made a
tour of Italy, he is said to have wandered as far
as Greece. On his return he founded a school,
which became the most famous of its time. The
list of his pupils reaches a total of one hundred
and thirty-seven. He formed a collection of pic-
tures and antique fragments, which he set before
his pupils as models, and thus, though himself of
moderate skill, he became one of the most famous
of masters, and earned the title of 'Father of
Painters.' Among his pupils were the two younger
Bellini, Mantegna, Gregorio Schiavone, Dario da
Treviso, Bono Ferrarese, Ansuino, Pizzolo, Matteo
Pozzo, and Marco Zoppo, and it was by their aid
that he executed the commissions he received. In
the spring of 1439 he finished a Crucifix for
Fantino Bragadini, a Venetian noble, living at
Terrassa, near Padua. In 1441 he was employed
in decorating the organ at the Santo, and in that
year his name first appears in the lists of the Paduan
guild. According to Vasari, he next contracted to
ornament a chapel at the Eremitani, and entrusted
its execution to Mantegna, Pizzolo, and others.
From 1444, when he laid in with plain colours
several ceilings at the Santo, until 1465, when he
became formally exempt from taxation in consider-
ation of his having cast a model of the city and
territory of Padua, he was constantly employed in
that building, sometimes executing his commissions
himself, sometimes employing his pupils. Crowe
and Cavalcaselle express the belief that il was
Mantegna's refusal, after he had arrived at the
maturity of his talent, to paint pictures for Squar-
cione, that led the latter to quarrel with his pupil,
rather than anger at Andrea's marriage with
Niocolosia Bellini. Squarcione's death occurred in
1474. Amongst his few remaining picti^res are the
' Glory of St. Jerome, with St. Lucy, St. John
the Baptist, Anthony the Abbot, and Giustina,'
now in the Gallery of Padua, a very poor pro-
duction, in which, according to Crowe and Caval-
caselle, Zoppo may have had a hand ; and a 'Virgin
and Child,' in the Casa Lazzara of the same city.
The latter is an excellent picture, bearing unmis-
takable signs of the hand of Mantegna. It is
signed Orms Sguaroioni pictoris.
SQUARGIONB, Zoppo di. See Zoppo, Marco.
SSOTNOWSKI. See Screta.
STAAL, Pierre Gustave EtiGfcNE, painter, was
born at Vertus, Marne, in 1817, He entered the
Bcole 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, Hendeik, 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 had reached his
seventeenth year. He does not appear to have
remained long in Italy, but established himself at
Paris, where he painted small interiors, with neatly
drawn figures. He died in 1658.
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.
STACHOWICZ, Michael, painter, born 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, JosBF Magnus, 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. Tlie following
pictures by him are in the Stockholm Gallery :
A Sea View by Moonlight. 1847.
A View of Haarlem in Wiuter. 1848.
Eiver Scene in Daleoarlia. 1856.
Italian Landscape. 1860.
STACKELBERG, Otto Magnus, Baeon von,
antiquarian draughtsman, was bom 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 Bassaa, which are now in the
British Museum, and of the JSginetan 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 modern Greece, drawings of
Greek costumes and customs, and a work on ancient
523
Stackh.ouse
A BIOGRAPHICAL DICTIONARY OF
Stanfleld
Greek sepulture. He travelled later in Italy, and
discovered some ancient Elruecan frescoes, to
■which another book was devoted. He died at St.
Petersburg in 1837.
STACKHOUSB, 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 Pahlcrantz. She travelled and worked
in Germany and Italy, but died young in 1829.
STABLER, Alois Martin, painter, born 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 the
Tyrol, among them an ' Assumption of the Virgin,'
for the parish church at Imst. He died at Sterzing
in 1841.
STABLER, Joseph Constant ine, 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 Loittherhourci ,
The Destruction of the Armada ; after the same.
The Picturesque Scenery of Great Britain ; six plates ;
after the same.
Views of London, "Westminster, and Blackf riars Bridges ;
after Favin(jton.
Many plates for Oombes' ' History of the Thames.'
A series of views of Schloss Hohenheim, Wiirtemberg ;
engraved in conjunction with I^icolas and Victor
Heidelojf.
STAEVAERTS. See Stevaerts.
STAGNON, Antoine Marik, 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 vohimes of Sar-
dinian uniforms. He assisted St, Non with the
plates for his 'Voyage pittoresque d'ltalie.' In
the fifth edition of tliat work, Choffard's name was
substituted for his on two of the plates, Nos. 36
and 38, and Stagnon published an indignant pro-
test in ' Les Nouvelles de la Republique 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. Eijlcsmuseum. A AVooded Landscape.
Antwerp. Museum. A Landscape.
Beriin. „ Adoration of the Shepherds.
Cassel. Gallery. Landscape.
Copenhagen. „ A View of Antwerp.
Dresden. „ Olympic Games.
j> „ Judgment of Midas.
Frankfort. „ Consecration of a Church.
Madnd. Museum. David's Triumph over Go-
hath.
524
STAMM, JoHANN Gottlieb Samuel, was bom at
Meissen in 1767. He practised as a copyist at
Bresden, but also etched after Klengel, Bietrich,
and others. He died in 1828.
STAMPART, Fbans, born at Antwerp in 1675,
was a scholar of the younger Tyssens, and a student
of Vandyck. He had 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.
STANFIELB, George Clakkson, 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 exhibited, from 1844 to
1876, continental landscapes, marine subjects, and
views of towns. He died at Hampstead in 1878.
STANFIELB, William Clabkson, 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. Buring 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 Dmry
Lane ; an early acquaintance with Bouglas 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 oflf 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, he 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 Fishennim,' &c.
A fine example of bis art is the 'Mount 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
Stange
PAINTERS AND ENaRAVERS.
Stanzioni
the ' 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 eSect 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 Trentham
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 Moselle, and a number of coast views in Heath's
'Annual.' His health gradually declined towards
the close of his life, but he continued to work with
unabated industry, exhibiting at the Academy in
the year of his 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. Oal. Entrance to the Zuyder Zee,
Texel Island. (Ex. 1844.)
„ „ Battle of Trafalgar. (Sketch
for the largepictvre painted
for the Senior United Ser-
vice Gluh. Ex. 1836.)
„ „ Lake of Como.
„ „ Canal of the Giudeeca, and
Church of the Jesuits,
Venice. (1836.)
S. Kensington. Museum. Near Cologne. (1829.)
„ „ Market Boat on the Scheldt.
(Ex. 1826.)
„ „ Sands near Boulogne. (Ex.
1838.)
Port-na-gpania, near the Giant's Causeway, Antrim,
with the Wreck of the Spanish Armada. (Dan.
Thwaites, Esq.)
Off the Texel. (J. SotUdsworth, Esq.)
The Abandoned. (Earl of Northbrooh.)
Capture of Smuggled Goods. [Adam Duqdale, Esq.)
Tilbury Fort— Wind against Tide. (W. Tattersall,
Esq.)
Battle of Eoveredo. (Boyal Solloway College, Eghara.)
STANGE, Bernhakd, 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 Rottmann and Rahl
caused him to devote himself to art. His first
works were poetical landscapes, which had a great
popularity in his native countrj'. His ' Morning
Bell,' in particular, had such success, that he re-
peated it twenty times. In 1849 lie went to Venice,
where he began 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 Highlands 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 Robert, landscape painter,
bom about 1790, studied in Italy and practised in
London. He 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 South Kensin/;ton Museum.
STANLEY, Harold John, 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 ' ho
made a series of drawings illustrating ' Some
Years of an Artist's Life.' He died at Munich in
1867.
STANLEY, MoNTAGOE, landscape painter, was
born 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 ngo
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.
STANNARD, Joseph, landscape and marine
painter, was born in 1797 at Norwich, where he
afterwards practised. He was a pupil of Hobert
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, Thomas, landscape painter, born
about the middle of the 18th century. He prac-
tised in London, painting views in which ho
generally introduced architecture. A 'View of
Stonyhurst College' by him was engraved by
Middiman.
STANZIONI, Massimo, painter, born at Naples
in 1585, was a pupil of Giovanni Battista Carac-
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 Annibale Carracci, and formed an
intunacy 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,
Lanzi reports that Stanzioni had painted an altar-
piece at the Certosa i-epresenting the dead Christ
with 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 the 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 tlie Regulations of his Order to his
Monks ' at the Certosa. He also painted many easel
pictures for private patrons at Naples. Stanzioni's
works are distinguished above those of his con-
temporaries by nobility of conception, simplicity
of feeling, and purity of line. He formed many
625
Stapleaux
A BIOGRAPHICAL DICTIONARY OF
Staveren
„ T^'iiiitA dci Pellegrini.
„ Fal. Cassaro.
Paris. Louvre.
Vienna. Liechtenstein Gal.
scholars, among; tliem Dom. Finoglia and Gius.
Marullo. He died in 1656. Other works :
Dresden. Gallery. A Genius.
Naples. S. Martina. Ijast Supper.
Legend of S. Bruno.
S. Bmidio.
Cleopatra.
S. Sebastian.
Virgin and Child.
STAPLEAUX, Michel 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 other members of the Bonaparte familj'.
His ' Prodigal Son ' is at Prague. Several pic-
tures by him are in the collection of the King of
Wiirtemberg and Prince Peter of Oldenburg. He
died in 1881.
STAR. See Stella.
STAB, DiBOK VAN, (Staken,) 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
f/auu I
he generally added the date, thus :
The following are among the best of his very
numerous plates :
1. Eve and the little Cain, 1522, A. G. {Awjusti) 19.
2. The 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, B. C. {DecemTrris) 31.
8. St. Bernard, 1524, Oct. 3.
9. St. Luke painting the Virgin, 1526. In Jvli. 23.
10. St. BUsabeth, 1524, Nove. 15.
11. Venus, 1524. Oct. 20.
12. The Faun, 1522, Se'fi. 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. The Woman 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,
1526 on the left.
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.
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 energeti-
cally 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
626
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, 1869. 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. JVat. Gal. Gowbarrow Park.
London. „ The Valley of the Yare {per-
kaps his masterpiece).
„ S. Kensington Mus. Landscape — Woody 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, Joseph, 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, Ghbeabdo, 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
his disciples,' in the church of S. Croce. Some
scenes 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 Coknel, 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.
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 his
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 i^s as elaborate
as that of Gerard Dou, but his handling is not so
clear and fluent. Works :
Amsterdam. R. Museun
An Old Man praying.
A Hermit.
The Schoolmaster.
dtayler
PAINTERS AND ENGRAVERS.
Steen
Copenhagen.
Paris.
Gallery. 'Woman Sewing.
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. Straverenus.
STAYLEE, 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, Andbeas, a painter of Dantzic of the
17th century, painted for the churches of Dantzic,
Oliva, and Pejiplin. In the Dantzic cathedral there
is a 'S. Rosa' by him. He made drawings for
books on botany and astronomj', and several por-
traits by him have been engraved. He died in
1697.
STEELE, Edward, nicknamed 'Count Steele,'
was born at Egremont, 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.
STEEN, Jan, was born at Leyden in 1626.
His father was a brewer of respectable family,
and probably sufficiently rich. The maiden name
of his mother was Elisabeth Capiteyns. He dis-
played an early talent for art, and was sent to
study in the first place under Nicholas Knupfer,
or Knuffer, a German painter of historical subjects
settled at Utrecht ; and from him transferred to
the studio of Adriaen van Ostade, at Haarlem.
The influence of Ostade is evident in his principal
works. He is. supposed to have received further
■instruction from Adriaen BrSuwer, whose choice
of subjects he largely adopted. He completed his
studies under Jan Van Goyen, of the Hague, whose
daughter Margaretta he married in 1649, and 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 600) 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 Willingem, and that his pictures sold at low
prices is clear from a contract he made to pay the
year's rent of his house for 1666-1667, 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 is not supposed to have re-
sided there between his marriage and the deaths
of his father and wife in 1669, when he returned
to take possession of his 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 bom in
1674; and five years later Jan Steen himself died,
and was buried in the parish church of St. Peter, at
Leyden, on the 3rd of February, 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 :
Amsterdam. £. Museum. Portrait of Himself.
„ „ Prinsjesdag. (Fete of the
Prince of Orange.)
„ „ The Feast of St. Nicholas.
„ „ The Parrot's Cage.
„ „ A Village Wedding.
„ „ The Merry Home-coming.
„ „ The Charlatan.
„ „ Do. ; another version.
„ „ The Baker Oostwaard with his
Wife and- the Painter's Son.
„ „ The Libertine.
„ „ The Scullery-maid.
„ „ The Dancing Lesson.
„ „ The Happy Family.
„ „ The Sick Lady.
„ „ After the Carouse.
„ „ A Couple Drinking.
Antwerp. Museum. Samson mocked by the Philis-
tines.
„ „ A Village Wedding.
Berlin. Gallery. Garden of an Inn.
„ „ Men Quarrelling at Cards.
„ „ A Merry Company.
Brussels. Museum. The Bhetoricians.
„ „ The Operation.
„ „ Twelfth Night.
„ The GaUant Offer.
Copenhagen. Gallery. The Miser surprised by Death.
„ „ David returning with the Head
of Goliath.
Dresden. ,, The Marriage at Cana.
„ „ A Woman feeding a Child.
„ „ The Expulsion of Hagar.
Dublin. 2Vat. Gallery. A Village School.
Edinburgh. „ The Sick Lady.
Glasgow. Gallery. The Painter and his Family.
Hague. Museum. 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.
London. JVat. Gallery. The Music Master.
„ Bridgewater Gal. Man Selling Fish at a House
Door.
„ „ A School of Boys and Girls.
„ Sucldngham Pal. Card-playing.
„ „ Kermesse.
„ „ Lady Dressing.
„ „ Interior of an Ale-house.
And others.
Munich. Finaeotheck. Quarrel in a Tavern.
„ „ Doctor's Visit.
Petersburg. Hermitaye. Esther before Ahasuerus.
„ „ Doctor's Visit.
„ „ FSte ChampStre.
„ „ The Drinkers.
„ „ The Sick Man.
„ „ The Tric-trac Players.
„ „ Village Wedding.
„ „ Tavern Scene.
Botterdam. Museum, The Pretended Operation.
„ „ The Feast of St. Nicholas.
Vienna. Gallery. A Village "Wedding.
„ „ The Prodigal Household.
A Wedding Party ; and several others. (Duke of Wel-
lington.)
Doctor with Lady; and other pictures, (Marquis of
Lansdowne.)
527
Steen
A -BIOGRAPHICAL DICTIONARY OF
Stefani
STEEN, Jan, (of Alkmaae,) an obscure Dutch
painter of the 18th century, who painted historical
and genre pictures.
STEENREI. See Steneee.
STEENWIJCK, Hendeik van, (Steinwyok,)
the elder, born at Steenwijck in 1550, was a scholar
of Jan Vrcdeman de Vries, an artist of reputation
as a painter of perspectives and architectural views.
Steenwijclc painted similar subjects, in whichhe 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
effects. His pictures are usually supplied with
figures by the Franckens and others. He worked
at Antwerp in 1577, but in 1579 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. E. Museum. Interior of a Catholic Church.
Brussels. Museum, Interior of St. Peter's Church
at Louvain.
liOndon. Wat. Gallery. Interior of an Ante-room.
„ Bridyewater Gal. Interior of a Church by Torch-
light.
„ iS. Joseph, Esq. Interior of a Church.
Vienna. Gallery. Interior of a Gothic Church.
„ „ Dungeon Interior. (The De-
liverance of St. Peter, dated
1604. His last known work.)
STEENWIJCK, Hendeik van, (Steinwyck,)
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 Vandyck's 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 :
Berlin. Museum. The Prison (dated 1649).
Copenhagen. Galleri/. Interior of a Gothic Church.
Dresden. Gallery. Three Church Interiors, dated
respectively 1609, 1611, 1614.
Florence. Uffizi. Interior of a Prison, with Be-
heading of St. John Baptist.
The Hague. Museum. A Public Square, with Monu-
ments and figures.
London. Bridgewater ) Interior of a Church at Ant-
Gallery. J werp (figures by Van Thul-
den).
Madrid. Gallery. Christ brought before the High
Priest.
„ The Denial of Peter.
Zouvre. Christ in the House of Martha
and Mary. (The figures at-
tributed to Poelenburgh.)
„ Interior of a Church.
Paris.
628
Vienna. Gallery. Two Church Interiors; and
Two Dungeon Interior-s, with
Deliverance of St. Peter.
STEENWIJCK, Nicholas, born at Breda in
1640, excelled in painting vases, musical instru-
ments, books, and other inanimate objects, and fish.
He died in 1698.
STEENWIJCK, Pietee, a Flemish painter of the
17th century, who practised at Breda, where he is
said to have led a very dissolute life. His favourite
subjects were emblems and allegories of Death.
In the Madrid Museum there is an example of his
work. He may be identical with the last-named
Nicholas Steenwijck.
STEEVENS, RiOHAED. See Stievens.
STEFANESCHI, Giovanni Battista, bom 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 which he was much employed by Ferdinand II.,
Grand Duke of Tuscany. He died in 1659.
STEFANI, Benedetto, a publisher and engraver,
and native of Verona, who flourished about 1575,
and whose name is afBxed to a print in the style
of .^Snea Vice, copied from Marc Antonio's Battle
of the Lapithse.
STEFANI, PiETEO Degli. See Degli Stefani.
STEFANI, Tommaso Degli. See Degli Stefani.
STEFANI da FOSSANO, Ambeogio, called also
Boegognone, Ambeogio da Fossano, and, by Lanzi,
Ambeogio 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 ' Mediolanensis,' 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 his 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 alt 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 by Borgognone about the year 1490.
The latter returned to Milan in 1494, in which
year he was at work at San Satire. In 1497 he
was at Lodi, painting in the church of the Incoro-
nata. In 1508 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 Milan. 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 lie 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
Stefano
PAINTEKS AND ENGRAVERS.
Stefauone
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, Prancia to the Bolognese,
or Bellini to the Venetian. He had a younger
brother, Bebnaedino, who often acted as his
assistant. W.A.
Bergamo.
Berlin,
w
Lodi.
London.
San Spirito. Presentation in the Temple,
Annunciation, and Epi-
phany.
„ Madonna Enthroned.
„ Five predella panels.
Lochis-Carrara ) Virgin giving fruits to the
Gallery. J infant Olirist.
Museum. Madonna Enthroned.
„ Madonna Enthroned with
Saints (signed ambrosij
Incoronata.
Nat. Gal.
Milan.
Casa Borromeo.
lergognoni 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.
Paris.
Favia.
San Satiro.
San Simpliciano.
Santa Maria della \ „ .,• „, ., „ c!„„ . , "
Passione. ] ^^''"'S of the Sacristy.
Sant' Ambrogio. Christ disputing with the
Doctors.
„ Christ after His Resurrec-
tion.
Sanf Eustorgio. Madonna with Saints.
S. Maria Fresso \ Virgin adoring, with
San Celso. } Angels.
Louvre. PresentationintheTemple.
„ St. Peter of Verona and
a kneeling Woman.
Certosa. 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 Macrino d'Alba).
„ St. Peter and St. Paul (in
the new sacristy).
„ Madonna, with SS. Sebas-
tian and Koch.
„ Virgin adoring.
„ Eooe Homo.
„ Virgin giving the breast to
the Child.
„ The Crucifixion. (And many
more.)
Accademia. Christ carrying His Cross,
with a suite of Carthu-
STEFANO, ToMMASo, painter, called 1l Giottino,
from the exactness with which he imitated 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. A ' Pieti ' in the church of San Remigio
at Florence is attributed to him, and certain frescoes
at Assisi. He died at Florence in 1366.
STEFANO DA FERRARA. See Fereaea.
STEFANO DA PONTE VECCHIO. SeeFiOEEN-
TINO.
STEFANO DA VERONA, and STEFANO da
ZEVIO. A difference of opinion exists as to
VOL. II. M M
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.
WOEKS :
lUasi, near ) Parish Church.
Verona. J
Milan.
Borne.
Verona.
Brera,
Palazzo Colonna.
Gallery.
Parts of a fresco, repre-
senting the Virgin and
Child and Saints. (This
wall-painting is cited by
some as a proof of the
existence of the elder
Stefano.)
Adoration of the Kings
(signed Stefanus pinxit,
and dated 1-135, ascribed
in the catalogue to Ste-
fano Fiorentino).
Virgin and Child (ascribed
to Gentile da Fabriano).
Strada Hi Porta 1 Fragments of a Virgin and
Vescovo. i Child, with St. Chris-
topher and Seraphs. (On
the front of a house.)
Sanf JEufemia. A Trinity, and Glory of
St. Augustine.
„ St. Nicholas with Saints,
and a predella.
Madonna.
Madonna with St. Cather-
ine. (Both ascribed to
Pisanello.)
And other frescoes at San Zeno, Sant' Antonio, and
San Niccolo in Verona. See ' History of Painting in
North Italy,' Crowe and Cavalcaselle, Vol. I. p. 450.
STEFANO DA ZEVIO. See preceding article.
STEFANO di GIOVANNI. See Sassetta.
STEFANO DI LAPO. See Lapo.
STEFANO FIORENTINO. See Fioeentino.
STEFANO, Fr. di. See Feanoesco 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 Camaldolese church. In 1468 he was paint-
ing in the hospital of San Matteo, and in 1472 he
painted the marble mausoleum of Temmo Balducci,
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.
529
Stefanoui
A BIOGRAPHICAL DICTIONARY OF
Steinfeld
In S. Maria della Pietk 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 Duomo at Naples, has been con-
jecturally ascribed to him, also a Magdalene and
S. Dominic, in San Domenico Maggiore. He died
about 1390.
STEFANONI, Giacomo Antonio, a native of
Bologna, who flourished about the year 1630. He
is said to have been both painter 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. Carracn.
1632. ^ .
Another Holy Family, with St. John presenting cherries ;
after the same.
The Virgin and infant Christ, with St. John ; after
Agostino Carracci.
The Murder of the Innocents ; after Quido Bent.
The Martyrdom of St. Ursula ; after L. Pasinelli.
STEFANONI, Pietbo, an Italian engraver, born
at Vicenza. about 1600, who has left a set of forty
etchings, from the, designs of the Carracci, intended
for use as a drawing-book. He marked his plates
with the initials P. S. F.
STEFFELAER, Coenelis, 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, born at
Innsbruck in the 17th century, studied under Joh.
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, Xaveb, engraver, was born 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 1833. 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 Dusseldorf, engraved ' Shepherd and Shep-
herdess ' after Bendemann, and several plates from
drawings by Kaulbach, Sohrbdter, 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 Overieck.
Frederick II. ; after J. F. Schrader.
Portrait of Lacordaire ; after Chauvin.
Portrait of Pius IX.
The Child Jesus ; after E. Deger.
The Nativity, Visitation, and Ave Maria; afterMintrop.
' Eegina Cceli ' ; after K. Nuller.
The Adoration of the Magi ; after P. Veronese.
Plates after Kethel's designs for Rotteck's ' Welt-
gesohiohte.'
STEIN, Theodoe Friedeich, a painter of the 18th
century, a native of Hamburg, who painted por-
traits in crayons. He died at Liibeck in 1788.
STEINBRUCK, Eduaed, 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's newly-opened
530
atelier. In 1829 he went for a short time to Diissel-
dorf, and later to Rome. It was not until 1846
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 the Berlin Academy. 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
February 3, 1882. The following are among his
more important works :
BerUn. Nat. Gal. The Fairy Voyage, from
Tieck's ' Marchen.'
„ „ Children Bathing.
„ New Museum. Medallions for the Ceiling.
„ Chapel of the Schloss. The Resurrection, &c.
„ Catholic Church of ) Adoration of the Shep-
St. Hedwig. j herds.
„ Chapel^JheCatholic \ ^jtar-piece.
Magdeburg. Chwrdi^ofSt. | ^tar-piece.
Sans Souci. Friedenskirche. Christ on Olivet.
„ „ Madonna and Child.
„ „ Genevieve.
STEINER, Eduaed, painter, bom at Winterthur
in 1811, studied at Munich under the influence of
Cornelius, but made his reputation as a porti-aitist,
chiefly in pastel. He also made many landscape
drawings in pen-and-ink. He died in 1860.
STEINER, Emandbl, painter, was born at Win-
terthur in 1778. He painted landscapes in oil and
water-colour, and afterwards flower pictures in
water-colour. He etched several plates. He died
in 1831.
STEINER, Johann Konead, 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 Baebaea
Steiner was also a painter.
STEINER, Johann Nepomuk, painter, born at
Iglau in Moravia in 1726, 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, Ka^AE, painter, born at Winterthur
in 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, Franz, 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-taught, he displayed such talent
that he was appointed painter to the court. In
1846 he became professor 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
Steinfurth
PAINTERS AND ENGRAVERS.
Stella
of landscapes. There is a mountain scene by him
in the Belvedere 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 illnstration of the
Prometheus of ^sohylus, and painted portraits.
He died in his native city in 1880. Pictures :
The Entombment. 1844.
The Education of Jupiter. 1846. {Cologne Museum.)
Hylas carried away by the Nymphs. 1847.
The BesurrectioQ. {In St. Nicholas, Samburg.)
„ „ {In St. Feter's, Hamburg.)
STEINHAUSER, Pauline, nJe Frank, was the
wife of the architect Karl Steinhauser, and a painter
of historical pictures. Her 'Esther before Aha-
Buerus' is in the Schloss Bellevue, at Berlin. She
died in 1866.
STEINHEIL, Louis Charles Auguste, painter,
was bom 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 1886. 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 Sainte
ChapeUe in Paris, and a ' St. George and the Dragon '
in the Chapel of St. George, Notre Dame.
STEINKOPP, GoTTLOB Friedkich von, painter,
born at Stuttgart in 1779, was the son and pupil of
Johaun Friedrich Steinkopf. He went to Vienna in
1799, where he transferred his attention from en-
graving to painting. Prom 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
Stuttgart. In 1829 he was teacher at the Stuttgart
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 Stuttgart Gallery. He died at
Stiittgart in 1861.
STEINKOPF, Johann Fbiedbich, painter, was
bom 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
Stuttgart, and in 1801 court painter. He died at
Stuttgart in 1825.
STEINLA, MoBiTZ. See Mulleb, Moritz.
STEINLB, Johann Eduaed, painter, bom at
Vienna, July 2, 1810, was the son of an engraver.
He was at first placed with an engraver named
M M 2
Kininger in Vienna, studying in the Academy at
the same time. Finding that his real inclinations
lay towards oil painting, he entered the atelier of
Leopold Kupelwieser, who had lately returned from
Rome, and under him became an ardent supporter
of the lately-founded neo-Gerinan school of re-
ligious art. In 1828 he set out for Rome with
introductions to the 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. He 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
he 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.' He died in 1886. Other works:
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 ' ^gidienkirche ' at Miinster. 1857.
Frescoes in the "Wallraf Museum at Cologne, and in the
' Marienkirche ' at Aix-la-Chapelle. 1860—1866.
Decoration of the Lowenstein Chapel at Heubach. 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 Ferugino.
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. The following table
shows their genealogy, and relation with the Bou-
zonnets, who also called themselves Stella:
Jean Stella
1625-pl601.
Francois Stella
1565jl605.
Jacques Franpois
1696—1057. 1603-1647.
Madeleine Stella
Married to Etienne Bouzonnet.
Antoine
1637—1682.
Antoinette
1641—1676.
Claudine
1637—1697.
Frani^ise
1638—1691.
STELLA, Antoine. See Bouzonnet.
STELLA, Antoinette. See Bouzonnet.
STELLA, Claudine. See Bouzonbtt.
STELLA, Franqois, the elder, painter, son of
Jean Stella, was born at Mechlin in 1565. 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
531
Stella
A BIOGRAPHICAL DICTIONARY OF
Stephanoff
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, FRAN901S, 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, Feanqoise. See Bouzonnet.
STELLA, Jacques, an eminent French painter,
born at Lyons in 1696, was the son of Franjois
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 de' 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 bis 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, he proceeded to Rome in 1623.
Tliere 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
Tuscany on St. John's Day. 1621.
A Madonna.
St. George.
Children dancing.
A great number of his decorative designs have
been engraved by Edelinck, Claudine Bouzonnet
(called Stella), the Poillys, Mellan, Paul Bosse, and
others.
STELLA, Jean, painter, the first of the family,
^vas born at Antwerp in 1526. Nothing is known
of his works. He died in 1601.
STELZER, JoHANN Jakob, a German engraver,
who flourished about the year 1720. He engraved
sorne plates for the collection of prints from the
antique marbles in the Dresden gallery, which was
pubHshed in 1733.
STEMPSIUS. See Sempelius.
STENBOCK, MAONns 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
632
STENDARDO. See Bloemen, Pieter van.
STENGLIN, Johann, engraver, born at Augs-
burg in 1716, 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.
STENRBB, (or Steenhee,) by some called
WiLLEM, by others Geoeg, 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 u 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 1536 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 forthe ' De humani corporis fabrica ' 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. Museum. Portrait of a Young Man.
Paris. Louvre. Ditto.
Vienna, Gallery. Portrait of a Man.
STEPHAN, Meistbr. See Lochner.
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 Sidnej'.' He
also made the drawings for Pyne's ' Royal Resid-
ences,' and a fine series of costume portraits for
' Garter's ' worlc 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 present century. He died at
West Hannam, in Gloucestershire, in 1860.
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, GERTRnDE Ste-
stem
PAINTERS AND ENGRAVERS.
Stevens
PHANOFF, was a flower-painter and teacher of
drawing. Slie exhibited at the Academy in 1783
and 1805, and died at Brompton in 1806. Her
daughter, M. G. Stephanoff, followed the same
professions.
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 Cignani. 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 Basilica of St. John Lateran, there is an
Assumption by him ; he also painted some frescoes
in the sacristy of S. Paoliuo. He also painted
concerts, conversations, and bambocciafe. He died
at Rome in 1746.
STETTLER, Wilhelm, was a native of Berne,
and a scholar of Konrad Meyer at Zurich and of
Joseph Werner at Paris. He accompanied the
arcliseologist 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, wasborn 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. Museum. Peter the Great in a storm on
Lake Ladoga. 1812.
Compiegne. Palace, Mercury and Argus. 1822.
Lille. Museum. Jeanne La FoUe.
Nantes. „ Esmeralda.
Paris. St. Germain des I St. Germain giving alms.
Pres. S 181T.
Strasburg. Cathedral. The Assumption.
Valenciennes. Museum. Peter the Great saved by his
mother from the Strelitz.
1827.
Versailles. Gallery. Battle of Ivry.
„ „ Battle of Poitiers.
„ „ Many portraits.
Steuben's wife, El^onorb, practised portrait paint-
ing in Paris.
STEUDTNBR, 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 employed on
designs for goldsmiths, in conjunction with his
brother Esajas. He died in 1736.
STEVAERTS, (Staevaerts, Stevees, Stevens,)
Anthonie Palabiedesz, painter, was the son of
Palamedes Stevaerts, a gem-engraver of Delft, and
was born in that city in 1600. lie painted por-
traits and conversations, and was particularly
successful in the rendering of groups of small
figures in interiors, at meals or musical entertain-
ments. He frequently painted figures in the 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 :
Berlin. Gallejy. Portrait of a Young Girl.
„ „ A Party at Table in a Park.
„ „ Portrait of a Boy.
Brussels. Gallery. Portrait of a Man.
» „ The Musical Party.
Copenhagen. Gallery. Soldiers Playing Cards in a
Guard-Eoom.
Hague. Museum. Portrait of an Officer.
Petersburg. Hermitage. An Interior, ladies and gentle-
men singing.
Vienna. Ziechenstein \ Guard-Room Interior, two pic-
Gallery. j tures.
The Concert. {Belonging (1885) to the Dowager Madame
de t/onge, at the Hague.)
STEVAERTS, (Staevaerts, Stevers, Stevens,)
Palamedes Palamedbsz, 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
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 be 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. Pinakothek. Cavalry attacking Musketeers
and Pikemen.
„ „ A Cavalry Pight.
Vienna. Gallery. A Cavalry Charge.
„ Liechtenstein Gal. A Skirmish of Cavalry.
STEVENS, Alfred, the sculptor of the Wel-
lington Monument in St. Paul's, was also a painter
of remarkable powers. He was born towards the
end of 1817, at Blandford, in Dorsetshire. At the
age of eight he could make a recognizable portrait,
and when he had reached more mature years, he
was sent to Italy by a discriminating friend, the
Hon. and Rev. Samuel Best. There he copied the
early fresco painters of Florence, as well as Andrea
del Sarto, and afterwards Titian, his copies from
whom are extraordinarily fine. Plis motto through
life, however, asserted the unity of art. In Italy he
studied architecture and sculpture as well as paint-
ing, and on hie return home it was in the two
latter arts that he was chiefly active, and in those,
together with ornamental design, he won his great
name. In England his activity as a painter was
confined to a few portraits — two of Mr. and Mrs.
Leonard Collnian may be named — and to decorative
designs. Of the latter the most notable are a
design for the decoration of the British Museum
Reading Room, at South Kensington ; four prophets
for the spandrils of the dome of St. Paul's, one of
which has been carried out in mosaic ; and a sketch
for the decoration of the dome itself. The two
latter belong to the cathedral authorities. Stevens
died at Haverstock Hill, in 1875. For further
particulars see ' Alfred Stevens,' by Walter Arm-
strong, 1881.
STEVENS, Anthonis, painter, a native of
Mechlin, 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, Pibter.
His daughter, Joanna, married a painter, Maurice
Mobeelse, and had a son Maurice, who was also a
533
Stevens
A BIOGEAPHICAL DICTIONARY OP
Stewardson
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 {q. 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, Peanois, 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 W^ater-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 Ea:eter Insti- 1 L^gyg; i, cjeeve. 1820.
iution. ) °
S. Kensiru/ton Museum, j A Devonshire Cottage. 1806.
STEVENS, Jakob, the younger, painter, the
son of Jakob Stevens, was born at Meclilin 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 Bissohops, in 1626. He died in 1662.
STEVENS, Jan, called Db 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, Andbies 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-
tising porti'aiture for a time at Ayr, he 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. Fart. Gal. Sir C. Bell.
STEVENS, John, an English engraver of the
18th century, who practised in London, and en-
534
graved a series of views of English scenery in
conjunction with C. Grignon.
STEVENS, Palamedes. See Stevaebts.
STEVENS, (or Stbevens,) Pibteb, called Ste-
PHANI, a painter, born at Mechlin in 1540, was the
eldest son of Anthonis Stevens of Mechlin. He
settled at Prague about 1690, 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 Pieler
Stevens at Prague,.) were ofEshoots of his family.
The following artists are among his known and
supposed descendants:
Pieteb Stevens the younger, his son, painter
and engraver, practised at Prague. Anthonis
Stevens the younger, called Stephani, his grandson,
painter, settled at Prague in 1644, and died there in
1672. Anthonis Stevens was also known as Stevens
of Steinfels, 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 Stibvens,) Richaed, a Dutch
painter, sculptor, and medallist, who came to
England in the reign of Elizabeth, and designed
and executed the monument to Eadclifie, 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, GusTAV Cubt, 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 Stevaebts.
STEWARDSON, Thomas, was born 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
Stewart
PAINTERS AND ENGRAVERS.
Stober
Queen Caroline. His portrait of Grote is in the
National Portrait Gallery. He died in London in
1859.
STEWART, Anthony, born at Crieff, 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 Stuabt.
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
■Qarrick 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,
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 Shepherd,'
' The Pedlar,' and ' The Penny Wedding.' In 1833
he emigrated and went to Algoa Bay. When
the Catfre 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, born 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 under Pasel 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.
STi:^MART, FEANgois, 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 Pontainebleau 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 Herr 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 Dtisseldorf. 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 Schadow at Dtisseldorf 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
younjrer brother of Tobias Stimmer, was born at
SchafEhausen in 1552. He distinguished himself
as an eminent engraver on wood, and executed
cuts from the designs of Tobias. He marked bis
prints with a monogram composed of the letters
C. S. T. M., thus,
But there is much dispute
as to what should be included in his oeuvre and
as to whether another monogram, in which C. S.
also occurs, should be ascribed to Stimmer or to
Christoph Maurer. Besides the cuts in the Bible,
published at B^sle 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 Jffabrm, published by
B. Jobio at Strasbnrg, in 1591.
STIMMER, Tobias, was born at SchafEhausen 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 the 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, Johaim Christoph
Stimmer, executed the outs for the Bible published
at Basle in 1586, and ' Novae Tobia; Stimmeri
sacrorum Bibliorum figure versibus Latinis et
Germanicis expositss,' which he had himself
designed. Rubens declared he had studied these
prints with attention, and recommended tL-em 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 Stuttgart,
and afterwards studied in Paris and in Rome.
Returning to Stuttgart in 1825, he obtained a good
practice as a portrait painter, and painted various
members of the royal family. He died in 1880.
STOBER, Franz, engravei-, born at Vienna in
1795, son and pupil of Josef Stober, studied at the
Academy of Vienna under Maurer, where he gained
several prizes. At first he worked with his father
535
Steber
A BIOGRAPHICAL DICTIONARY OF
Stom
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 Peasant ; after WaUmiiller. 1835.
The Death of Zriny ; after Krafft. 1836.
The Spendthrift ; after Dannhauser.
The Convent Soup ; after the same. 1839.
The Opening of the Will ; after the same. 1843.
The Novel Reading ; after the same. 1851.
S. Catharine of Siena ; after Rieder. 1846.
Dolce far Niente ; after Ender. 1851.
Madonna with the Child ; after Sassoferrato.
The Judgment of Solomon ; after Fuhrick. 1853.
The Sibyls ; after Raphael. 1854.
Besides these he has also left some etchings of
Austrian celebrities after Dannhauser. He died in
1858.
STOBER, Franz, painter, born at Viennain 1760,
studied with the Jesuits, and under the painter
Christian Brand. He afterwards paid a visit to
the Netherlands to study the Dutch masters. Re-
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
view of the ruins of St. James's Church at Spiers.
He died at Vienna in 1834.
STOCK, Andreas, 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 ' Acad^mie de L'Espde,'
published at Antwerp by Thibeau ; which are
inscribed Andreas Stdkius HagcB Gomitis sculp.
We have the following plates by him :
Albrecht Diirer ; Effigies Alberti Omen. And. Stock, sc.
1629.
Han.s Holbein ; Ejffigies Holheini, Fief oris celeherrimi se
ipse pinx. And. Stock, fecit.
Lucas van Leyden ; from a picture hy hiviself.
Peter Sneyers, Painter ; after A . Vandi/ck.
The Sacrifice of Abraham ; after Rubens.
The Twelve Months in the Year ; after WUdens.
A set of eight Landscapes ; after Paul Frill,
STOCK, DoEis, (Dora,) painter, bom 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
1815.
STOCK, Martin, painter, was born 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, JoRG, (Stocker,) painter of Ulm,
who flourished from 1481 to 1525. To him are
assigned a panel in the Neidhart Chapel at Ulm,
and altar-pieoes at Oberstadion and Dischingen.
STOCKMANN, Jakob, painter, born at Ham-
burg about 1700, studied in Holland under Meyering
and M. Carre. He painted landscapes with animals,
and died at Hamburg in 1750.
STOCKVISCH. See Stokvis.
STOER, LoRENZ, a native of Augsburg, flour-
ished about the year 1567. He is mentioned by
Professor Christ as a painter and engraver on
wood, and is said to have marked his cuts with the
cipher ^.
536
STOFFB, J. V. D., a painter of battle-pieces,
chiefly skirmishes of cavalry, flourished about the
year 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, Hendeik, (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.
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 JB. 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. Qiiinkhardt, 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, P. Hals, Jan Steen, Schalcken, Adriaen
Ostade, Brekelenkara, 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 1837.
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 Schenau ; after Vogel.
Christ on the Cross ; aftei- Schenau.
The Magdalene ; after Guido Rem.
The "Wise Man ; after Schenau.
March of a Regiment of Ural Cossacks ; after K. A.
Hess.
He died in 1815.
STOM, or ST00M,MATTH2Ens, was born in 1643,
probably in Flanders, and practised principally in
Italy. He painted landscapes and battle-pieces,
Stomme
PAINTERS AND ENGRAVERS.
Stoopendaal
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.r.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
young 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-
Col our 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. The 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 excellent 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 1653.
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, John, was the brother of Henry Stone,
and followed his father's profession of stone-cutler.
He also copied the old masters. Thomas Cross is
said to have taught him engraving: one of the
plates for Dugdale's ' History of Warwickshire ' is
by him ; he also published anonymously ' Enchi-
ridion,' a book on fortification, with small plates
engraved by himself. He died soon after the
Restoration.
STONE, William Oliver, an American painter,
born at Derby, Connecticut, in 1830. He studied at
New Haven, and settling in New York about 1868,
became known as a successful painter of portraits,
especially of women and children. He was made
a member of the Academy of Design in 1859, and
was an annual exhibitor until his death in 1875.
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 bom 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, for
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 ' .^Ssop'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 print 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 Skirmisli of Cavalry. {Ditto.)
Portrait of Charles II.
Portrait of Catharine of Braganza, wife of Charles II,,
inscribed Catharina D. G. Magnae Britannise, Fran-
cise et Hibernise Regina Filia Johannes IIII. Portug.
&c. — Consecrat T. Stoop. On the left, below the
inscription, lisbona 1662. J^. Munier f.
The Title. In a cartouche, is inscribed Al Illustssa.
Lr^. D. Cathanna Rajnha da gran Mretanha D. V.
C. E. 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 Pibter, 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 /row his men designs.
A set of twenty-four Views near the Hague.
Four plates representing the Departure of King 'William
from Holland for England, his Arrival, his Meeting
the Parliament, and his Coronation ; inscribed B.
Stoopendaal, fee.
The Robbers ; after Bamboccio ; B. Stoopendaal, sc.
Attack on a Military Convoy ; after the same. ■
A Lime-kiln ; after the same.
537
Stoopendaal
A BIOGRAPHICAL DICTIONARY OP
Stothard
The last three are fine copies from Visscher.
Stoopendaal engraved the plates for Clarke's Csesar,
published in 1712.
STOOPENDAAL, Daniel, a contemporary of
Bastiaan Stoopendaal, etched several plates after
his own drawings.
STOOTER, Leonabd, painter, was horn 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.
STOPPELAE R, PIeebekt, 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, (Stoek,) painter, born 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 yachts, decorated with
flags and full of picturesque figures. Storck painted
figures in the landscapes of Hobhema 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.
STORER, Cheistoph Johann, (Stoeree,) 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 colourist. He was employed
in decorating Milan for the solemn entry cf 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.
STORER, Henry Saegant, draughtsman and
engraver, was the son of James Storer, and worked
jointly with him on many of his later undertakings.
He lived for some years at Cambridge, but died
in London, January 8, 1837.
STORER, James, engraver, born 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
638
he spent the rest of his life. A list of his publica-
tions is appended. In many of these he 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. 1803.
„ Views in 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 FonthiU .Abbey.
1812.
„ Ancient Eeliques. 1812-13.
J. and H. S. Storer, Cathedrals of Great Britain.
The Portfolio. 1823-4.
„ CoUegiorum Portse apnd Cauta-
brigiam.
„ Delineations of Fountains Abbey.
STORK, Abeaham, 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 he 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 he 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 Sohwabach 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 w-as 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-^K , His 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 Museum.)
The Madonna and Child, standing. {Do.)
The Madonna and Child, seated, in a room. {Do.)
The Martyrdom of St. Catherine of Alexandria. {Do.)
A Gothic Capital. (Do.)
STOTHARD, Chaeles Alfeed, 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 effigy 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
Stothard
PAINTERS AND ENGRAVERS.
Strada
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, wliere he discovered the effigies of the
Plantagenets, the continued existence of which had
been doubted since tlie revolution. These were
added to his work. His last uudertaking 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-
ern France, which was illustrated with twenty-one
plates from designs by her husband.
STOTHARD, Thomas, painter, was born 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
Sti'etton, 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 declining, 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 Hnrrison'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 1786, an academician in 1794,
deputy librarian in 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 Bunbiil Fields.
There are portraits of him by Harlowe, Jackson,
and Wood, and a bust in marble by Baily. His
biography has been written by Mrs. Bray. Works:
liOndon. JVdtional Gall. The Greek Vintage.
„ „ Intemperance. (Sketch for the
^cture at Burleigh.)
„ „ FSte Champetre.
„ „ .. The Canterbury Pilgrims.
{And six others)
„ S. Ken. Museum. Characters from Shakespeare.
„ „ Twelfth Night.
London. S. Ken. Museum. Bninetta and Phillis.
„ „ Saacho and the Duchess.
(And six others.)
STOTTRUP, 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, Chbistian Geoeg, was also an engraver
at Altona.
STOVESANDT, Friedbich Adolph, landscape
painter, was born at Dantzio in 1808, and studied
first in his native city, then at Berlin under
Gropius, and afterwards at the Vienna Academy.
He died at Dantzic in 1838.
STOW, Jambs, line-engraver, and the son of a
labourer, was 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
WooUett. 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 :
Bight plates for Boydell's ' Shakespeare.' 1795—1801.
Twelve plates for Du Roveray's ' Homer.' 1806.
Gainsborough's ' Boy at the Stile.'
Plates for ' Londina Illustrata.' 1811-23.
STRAATEN, Jan Joseph Iqnatids van, a painter
of dead game and flowers, was born at Utrecht in
1766, and was a scholar of 0. 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 Steaaten, 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' Hendeik, 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 Euysdael. (See
Walpole, vol. ii. p. 235.)
STRAGK, Anton Wilhelm, horn 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 wore after-
wards engraved.
STRACK, LuDWiG Philipp, painter, horn 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. He
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
639
Strada
A BIOGRAPHICAL DICTIONARY OF
Strange
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 hy two Angels.
The Marriage of St. Catherine.
The Virgin and Infant Christ.
STRADANOS, Johannes, or Giovanni della
Steada. See Van der Stbaet.
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
him containing numerous figures, probably por-
traits, and in the Antwerp Museum a portrait of
Prans 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 ha ve
fought in the ranks, he escaped to Prance. 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-
ing.^ from many then celebrated pictures, some of
wliich 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
540
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 :
Chai-les I. ; after Vandyck. 1770.
Charles I. ; after the same. 1782.
Henrietta Maria, Queen of Charles I., with the Prince
of Wales and Duke of York ; after the same. 1784.
The Children of Charles 1. ; after the same. 1758.
A Bust of Raphael; after a picture by himself; in-
scribed lUe hie est Raphael, q-c. 1787.
A Portrait-of himself ; froni a drawing Jyy J. B. Grcuze.
The Return from Market ; after Ph. Wouwermans.
Engraved in Paris in 1750.
St. Cecilia | after Raphael.
The Virgin and Infant Christ, with Mary Magdalene,
St. Jerome, and two Angels ; after Correggio.
Venus reclining ; after Titian.
Dauae ; after the same. 1768.
Venus and Adonis ; after the same. 1762.
Mary Magdalene, penitent ; after Guido. 1782.
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, with the Infant
Jesus asleep ; after the same. 1760 ?
Christ appearing to the Virgin after His Eesorrection ;
after Guercino. 1773.
Abraham sending away Hagar ; after the same. 1763
and 1767.
Esther before Ahasuerus ; after the same. ll&l.
The Death of Dido ; after the same. 1776.
Belisarius ; after Sal. Rosa. 1757.
Romulus and Remus ; after P. da Cortona. 1757.
Caesar repudiating Pompeia ; after the same. 1157 ?
Sappho devoting her Lyre to Apollo ; after Bold. 1787.
The Martyrdom of St. Agnes ; after Domenichino. 1759.
The Choice of Hercules j after N. Poitssdn. 1759.
The Holy Virgin ; after Guido. 1756 ?
The Angel of the Annunciation ; after the same. 1756 ?
The Annunciation ; after the same. 1787 ?
The Offspring of Love ; after the same. 1766 ?
The Infant Jesus plaiting a Crown of Thorns; after
Murillo. 1787 ?
The Infant Jesus asleep ; after Fandyck. 1787 ?
St. Agnes ; after Domenichino. 1759 ?
The Magdalene ; afte>' Guido. 1753.
The Magdalene ; after Correggio. 1780.
Laomedon, King of Troy, detected by Neptune and
Apollo ; afler 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; a/to- 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 Dyck. This, and
Nos. 52, 56, 57, and 38, 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 III., who died in their infancy ; after Benja-
min West.
Prince Charles James Edward Stuart.
Mary Stuart, Queen of Scotland.
The Mistress of Parmigiauo ; after Parmigiano. 1774.
James Graham, Marquis of Montrose ; after Van Dyck.
Thomas Wentworth, Earl of Strafford ; afUr the same.
Thomas Cromwell, Earl of Essex ; after Holbein.
Strassberger
PAINTERS AND ENGRAVERS.
Strigel
William Hamilton, of Bangor, a Poet. 1760. Id his
' Poems.'
Eoberb Leighton, Archbishop of Glasgow. 1758. lu a
selection from his works.
Archibald Pitcairn, 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 Jacobite family.
STRASSBERGER, Gheistoph Gotthelf, painter
and engraver, was born at Prauenstein, 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, Ernst 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, Solmorr,
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 his
son. He died at Leipsic, September 11th, 1866.
STRASTER, Fkay Geronimo, a Franciscan, who
resided at the convent of his order in Valladolid, in
1613, where he engraved, with considerable ability,
the plates to a work entitled ' Historia del Monte
Celia de nuestra Senora de la Salceda,' written by
D. Fr. Pedro Gonzalez de Mendoza, archbishop of
Ct j*A.nfl.n i\
STRATEN. See Van deb Stbaten.
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, Georq, 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 1675.
STRAUCH, LoRBNZ, born at Nuremberg in 1654,
was a skilful portrait and architectural painter, and
also painted on glass. Bartsch, P. G. torn, ix., 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 m. , Strauoh 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
principal works were : the theatre ceiling at Oxford ;
some ceilings at Whitehall, which have perished ;
the ' Battle of the Giants,' at Harden Park, Surrey ;
and the pictures of Moses and Aaron, iu the church
of St. Michael, Cornhill. There is a landscape by
him in the Cartwright collection at Dulwioh. He
died in 1680. He left a few indifferent etchings.
STRECKER, Wilhelm, painter, born in 1795,
painted history and scenes from poets. He was
Inspector of the Gallery at Stiittgart, where he
died in 1857.
STREEK, Hendbik 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 interiors of churches and
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 van, 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 Rbn^e, the daughter of
Henri Stresor, 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 lier 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.
STRESOR, 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.
STRETBS, GniLLiM, 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
bought at the sale of the Arundel collection at
Stafford House, in 1720, and subsequently pre-
sented to the Duke of Norfolk. The picture is
now at Arundel Castle. It is dated 1547. A
half-length at Knole is a copy from it. An
excellent portrait of Edward VI., by Stretes, was
formerly at Hamilton Palace, where it was called
a Holbein.
STRIEBEL, Franz Xavee, 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.
STBIGBL, Bernhaed, painter, was born in 1460
or 1461, at Memmingen. After working for a time
at Memmingen, he moved first to Augsburg, and
afterwards to Vienna, where he settled finally about
1517. He was a prot6g6 of the Emperor Maxi-
milian, and seems to have had a monopoly of
painting his portraits. Herr Bode, to whom we
541
Strij
A BIOGRAPHICAL DICTIONARY OF
Strozzi
owe our knowledge of Strigel, identified him with
a painter iirst discriminated by A. Woltmann, and
called by him the ' Master of the Hirscher Col-
leotion.' Strigel seems to have been much in-
fluenced by Zeitblom. He died at Memmingen in
1528. Works :
Berlin. Museum. SS. M. Magdalen and John the
Baptist.
„ SS. Lawrence and Catharine.
' SS. Vitus and Margaret.
„ EUzabeth of Thuringia and the
Emperor Henry II.
„ • „ S. Norbert.
„ Johannes Ouspinian and his
" Family. (This picture bears
the inscription through
•which Strigel was finally
identified.)
{And four others.)
Carlsruhe. Kunsthalle. Annunciation.
„ Christ washing the Disciples'
Feet.
„ Christ crowned with thorns.
„ „ A Pieta.
Munich. Pindkothek. Triumph of David.
„ „ S. ServatiuB.
„ „ Old Man and young Woman
teaching a Boy.
„ „ Portrait of Conrad Eehlingen.
„ „ Portrait of Maximilian I.
{And four others.)
Vienna. Gallery. The Family of Maximilian I.
{And others at Sonauesch-
iru/en, Bovigo, Schwerin, ^c.)
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
7th of IMarch, 1826. Works :
Amsterdam. R. Museum. The Drawing Lesson.
„ . „ The Housekeeper.
„ „ The Scullery-maid.
Eotterdam. Museum. 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 'Ouyps.' 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. B. Museum. Four landscapes.
STRINGA, Feedinando, engraved some of the
plates for the ' Antiquities of Herculaneum,' pub-
lished at Naples in 1750.
642
STRINGA, Feancesoo, painter, bom 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 m 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, B., 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 Nepomuk, 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:
a series of lithographs after Diirer's designs for
' The Prayer-Book of Kaiser Max ' ; some litho-
graphs for the collections of the Boisserees,
and for works published by the Munich Gallery
authorities.
STROBERLE, Joao 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 he was engaged
at the theatre, and worked for Bishop J. Maria
da Ponseca e Evora. In 1761, on the death of his
patron, lie went to London, but in 1756 returned
to Lisbon, whence after the earthquake he migrated
to Oporto, where he died in 1792. His chief works
are : 'The Last Supper' in S. Nicolao ; altar-pieces
in S. Joao-Novo and Senliora da Victoria, Lisbon,
and in the cathedral of Braga.
STROEHLING, P. E., a Russian painter, who
was educated at the expense of the 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.
STROHMAYBR, 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, Bernardo, called II C-APPncciNO
Genovese, and sometimes II Prete Genovese, was
born at Genoa in 1581, and was a pupil of Pietra
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 tlie cloister,
Strozzi
PAINTEES AND ENGRAVERS.
Stubbs
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 liis 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 'Incredulity 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. ^al. Durazzo. Portrait of a Bishop.
„ Fal. Balhi. Joseph in Prison.
„ „ St. John the Baptist.
Paris. Louvre. Virgin and Child.
„ „ St. Anthony of Padua with the
Child Jesus.
Venice. S. Benedetto. St. Sebastian.
„ Aocademia. St. Jerome.
STROZZI, Zakobi di Benedetto, painter, born
at I'lorence about 1412, was a pupil of Fra 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.
STRUDEL VON STRUDELSDORF, Pieter,
Baron, was born at Gles, 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
the first Director of the Academy at Vienna. He
died at Vienna in 1717. Pictures by him are to
be found at Vienna, at Cassel, and at Diisseldorf.
Strudel was also a sculptor.
STRUETT, JoHANN Jakob, painter and etcher,
was bom at Weisenthal, near Basle, in 1773. He
has left some views near Salzburg, and some good
aquatints. He died in 1820.
STRUTT, Jacob George, an English landscape
painter, born about the beginning of the 19th cen-
tury. His works appeared at the Royal Academy
from 1822 to 1852. Soon after 1830, he settled at
Lausanne, and thence migrated to Rome, not re-
turning to England till 1851. There is a landscape
by him at Woburn Abbey. He used the etching
needle, and published two volumes of etchings :
' Sylva Britannica ' (1825), and ' Delicise Sylvarum '
(1828). ■
STRUTT, Joseph:, an English engraver, and
writer on art, born about the year 1749, was the
son of a miller. 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 the 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 :
The Birth of Venus. 1779.
Pandora presenting the fatal Box to Epimetheus. 1779.
Candaules betraying 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 B. E. Bine.
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. Pothergill,
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 d'oeuvre.
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 the
National Portrait Gallery.
STUB. See Kratzenstein-Stub.
STUBBS, George, painter of animals, born at
Liverpool in 1724, particularly excelled in the
anatomy of the horse, and was much employed in
painting the portraits of the most celebrated racers
of his time, which he not only designed with
correctness, but painted with a very remarkable
command of technique. That he could occasionally
take a higher flight he proved by a ' Phaeton with
the Horses of the Sun,' and by some admirable
pictures of tigers. At the age of thirty Stubbs
visited Rome. In 1766 he published a work en-
titled 'The Anatomy of the Horse,' with plates
etched by himself, after his own designs. He
etched and scraped in mezzotint several good
plates of animals from pictures painted by himself.
Other pictures by him were engraved by Woollett,
Earlom, Green, Hodges, &c. Stubbs was elected
an Associate of the Royal Academy in 1780, and an
Academician in 1781. The latter election, however,
he refused to accept. He died in London in 1806.
STUBBS, George Townley, son of George
Stubbs, born in 1756, died in 1815, engraved
543
Stubley
A BIOGHAPHICAL DICTIONARY OF
Suau
several of his father's pictures of animals, and a
few plates after others.
STUBLEY, P., portrait painter, practised in
London in the first part of the 18th century.
Tliere is a plate after his portrait of Peter Monaniy,
the marine painter, and several other of his portraits
were engraved hy J. Faber.
STUDIO. See Lint, Hendbik van.
STUERBOUDT. See Boots, Diebick.
STUERBOUT. See Bouts, Hhbbet.
STUHR, JoHANN Geoeq, painter, was born 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 Feeyberg, Elekteine.
STUNTZ, JoHANN Baptist, lithographer and
draughtsman, was born at Arlesheim, near Basle,
in 1753. 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.
STDREL, Maeie Octavie, (rafePAiGNfeE,) painter,
was born at Metz in 1819. She painted flowers
and fruit, chiefly in pastel. She died at Metz in
1854.
STURM, Feedinand. See Stuemio, 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 Heineich, painter, born at
Kirchberg, in Hohenlohe, in 1774, studied at Oeh-
ringen, at Augsburg, and at Gbttingen, 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 at 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 the 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, Heenando, a Dutchman, born at
Ziricksee, resided at Seville about the middle of the
16th century, and painted the altar of the chapel of
544
the Evangelists in the cathedral there, in several
compartments. One of these connpartments is in-
scribed, Hernandus Sturmius Ziriczcensis faciebat,
1556.
STURRINI, Maeco, an Italian painter, who is
known only by the existence, in the IJfiizi at
Florence, of a ' Penitent Magdalene ' with this
inscription : Opus Marci Sturrini, 1654.
STIJRT, John, born in Loudon 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 tliere is a small historical vignette. He died
in 1730.
STUVEN, Eenst van, born at Hamburg in 1657,
was the pupil of an obscure painter, named Hins.
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
atid 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, Babtolommeo, called Bramantino, and
in the historical records of his time, Bramantino de'
Suardis, was born about 1450. He was the pupil
successively of Foppa and Bramante, and followed
the latter to Rome in the early part of the 16th
century. There in 1508 he executed a series of
frescoes in the Stanze, by orders of Julius IL, all of
which were afterwards destroyed to make way for
the work of Raphael. Of his early paintings,
there is in the Louvre a ' Circumcision ' dated
1491 ; and in the Municipio at Milan is a ' Cruci-
fixion ' of the same date, though now much injured
through repainting. At the church of San Sepolcro,
Milan, is a fresco called the ' Christ of Pity,' that
was painted soon after his return from Rome. In
the library of the Ambrosiana, Milan, can be seen
a sketch-book containing architectural and other
designs, which were probably made during his
visits to Rome and Florence, which occurred pre-
viously to 1513. In that year he painted for the
Cistercians at Rome a ' Pietk,' which had been con-
tracted for by the brethren of the monastery of
Chiaravalle, near Milan ; it is now lost. The picture
formerly ascribed to Bramantino in the National
Gallery, is now restored to his master, Foppa. He
was in Milan in 1523, when it was besieged by the
French, and so distinguished himself in its defence,
that in 1525 he received from the Duke Francesco
Maria a patent as architect and engineer. From
that date until 1536, when he probably died, he
continued to execute both frescoes and paintings,
among which we may name :
Locarno. .^/at^oana ) ■,-,. ■,,.. ^ . ,«. jv
deZ&sso.;^''elit»"'° Egypt. (Sigmd.)
Milan. S. Sepolcro. Pieta with Figures.
„ S. Seiastiano. Martyrdom of St. Sebastian.
„ Municipio. Crucifixion.
„ Brera. Virgin, Child, and Angels.
„ „ St. Martin dividing his Cloak.
Casa Mdzi. The Virgin, St. Michael, St.
Ambrose.
Paris. Louvre. The Circumcision. 1491.
The Adoration of the Magi. (Sir H. Luyari)
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
Suau
PAINTERS AND ENGRAVERS.
Sullivan
director of the Museum. He died at Toulouse in
1836.
SUAU, PiEKRE Theodore, painter, the son of
Jean Suau, was born at Toulouse. He studied
with his father and with David, and entered the
Ecole 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, Lambert, an engraver of the 16th
century, who practised at Li6ge. He was the pupil
and brother-in-law of Lambert Lombard, with
whom he has been often confounded. He flourished
between 1540 and 1559. He signed his plates l. s.
The most important is a ' Raising of Lazarus,' after
Lambert Lombard.
SUBLEYRAS, Pierre, (Hubert,) a French
painter, bom at Usez, in Languedoo, 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 tjie 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.
SUDR^, Jean Pierre, painter and lithograplier,
was born 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. In 1818 he took to 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 CnLMBACH,) painter
and engraver upon wood, was born at Culmbach in
Franoonia. and flourished at Nuremberg in the early
years of the 16th century. Sandrart and Lochner
are responsible for the error by which his name has
been 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 his 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,
Durer'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
VOL. II. N N
fine triptych in St. Sebald's Church at Nuremberg.
Another important work is the 'Adoration of the
Kings,' in the Berlin Museum, which shows the
influence of De' Barbari. The series of eight
scenes from the history of SS. Peter and Paul, in
the Uflizi, there attributed to Schaufelin, should
most probably be ascribed lo 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 Sueur.
SUHR, Christoph, 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
ho uo(juired 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, born
at Schwerin in 1742. He painted portraits and
historical pictures, and died in 1827.
SUHRLANDT, Rudolph Friedrich Karl,
painter, born at Ludwigslust 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, Archduke of Austria ; after Rubens.
Philip 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 same.
Charles I., King of England ; after Vandyck.
Henrietta Maria, his Queen ; after the same.
Fran9ois de Monijade, Comte d'Ossonne ; after the same.
John, Duke of Burgundy ; after F. iSoutman.
Charles, Duke of Burgundy ; after the same.
Aldus Swalmius (The old Man with the Beard) ; after
Rembrandt.
Een6 Descartes ; after F. Hals.
Anna Maria Schurmann ; after J. Lievens.
The Fall of the Eebel 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 Oallery ; one of his finest plates.
The Burgomaster of Amsterdam in Council ; after
Thomas de Keyser.
Three old Women at table ; aftei- Ostade.
Three Boors, one playing on the Violin ; after the same.
The Tric-trac players ; after the same.
Dutch Boors fighting with Knives ; after the same.
Dutch Boors dancing, called the Ball ; after the same.
SUISSE, Le. See Le Suisse.
SULLIVAN, Luke, 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
645
Sully
A BIOGKAPHICAL DICTIONARY OF
Sustenuann
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 Hoyarth; 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 Oountry-seats.
' SULLY, Thomas, painter, was born at Horncastle,
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 tlie Delaware ' is in the
Boston Museum. He died in Philadelphia in
1872.
SUMMERFIELD, John, engraver, was one of
Bartolozzi's best pupils. Ilis finest work was an
excellent plate of 'Rubens and his Wife,' after
the Flemisli 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.
Ire found it impossible to make a living, and is said
to liave been reduced to great poverty. Redgrave
gives the date of his death as 1817, but he is
believed to liave lived much longer.
SUMPTEB, H , an English painter of still-
life, who exhibited regnlarly at the Academy, the
British Institution, and the gallery of the Society
of British Artists, between 1816 and 1847.
SUNDER, Lucas. See Ceanach.
SUNMAN, WiLLBM, (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 snocessful than Riley 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, jEtatis 120, Gul. Sonmans, pinxit
et deait.
SONMANS, William, perhaps a son of the last
named, was employed in London as a draughtsman
early in the 18tli century. The drawings for
Morrison's ' Historia Plantarum,' 1715, are by him.
SUPPA, Andrea, painter, born at Messina in
1628, studied under B. Tricomi and Casenibrot. He
painted very minutely finished works in oil, and
frescoes for the churches and convents of his
native city, ariiong 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.
SURCHI, Giovanni Feancesoo, 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 qrotteschi and land-
546
scapes. He died in 1590. The Costabili Gallery
has an 'Adoration of the Shepherds' by him.
SURU6UE, Louis, a French engraver, bom 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 BouUongne, painter to the King ;
after Mathieu.
St. Margaret ; after Eaphael ; for the Crozat collection.
St. Jerome in the Desert ; after Bal. de &iena ; engraved
by N. Chasteau, and finished by L. Suruyue ; same
collection.
Christ curing the Lepers; after 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 ; aftm- Coyipel.
Last Supper ; after Muiens.
Susanna ; after Verkolje.
SURUGUE, PiEREE 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 memtier of the Academy in 1747. Among his
plates we may name the following :
Ken6 Fremin, Director of the Academy ; after Latmir.
Simon Guillain, Sculptor to the King ; after N. Coypel.
The Nativity ; after Corregyio (' 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, fie died in
1772,
StJSEMIHL, Johann Konead, 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 Holler's 'Monu-
ments of German Architecture.' In 1839 he pub-
lished an illustrated work on the ' Birds of Europe.'
His brother Johann Theodoe, born 1773, was a
pupil of Pforr, and engraved zoological and or-
nithological plates. He practised for many years
in Paris.
SUSTERMANN, Lambeet, was called so in
error, and apparently through some confusion be-
tween him and his brother-in-law, Lambert Suster-
man or Suavius, of Li6ge (g-. v.). His real design-
ation was Lambeet Lombard. He was born at
Li%e in 1606, was a pupil of Mabuse, and after-
wards travelled with Cardinal Pole to Italy, where
he studied the pictures of Andrea del Sarto. On
his return to Lilge he opened a school which was
largely attended, and was the means of difi'using
his style through the Netherlands. He also pro-
fessed architecture, engraving, numismatics, archae-
ology, and poetry. He is not deficient in feeling
for beauty, and his execution is careful, but his
Sustris
PAINTERS AND ENGRAVERS.
Swagers
colouring is generally cold. His pictures are not
common. There is a ' Virgin and Child ' in the
Berlin Museum, and a ' Deposition from the Cross,'
in the National Gallery, is ascribed to him. He
died at Liege in 1566.
SUSTRIS, or Zustbis, Feedekik, called Pede-
RiGO Di 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, ZnsTHls,) 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. He 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-Co' ours, 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, Justus, (Sustermans,) was'born
at Antwerp in 1597, and was a scholar of Willem
de Vos in that city ; and of Francois 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 he 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
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
N N 2
the time. He died in Florence in 1681. Among
his works we may name :
Edinburgh. Nat. Gal. Portrait of Spinola.
Florence. Uffizi. Portrait of Galileo.
„ A Magdalen.
„ Puliciani and his wife (two
Corsini Col.
Lucca.
Venice.
Vienna.
„ His own portrait.
Fitti Gal. The Crown Prince of Denmark.
„ Portrait of Ferdinand (II.) de'
Medici.
„ „ Vittoria della Eo-
vere.
„ Cardinal Corsini.
„ Mary Magdalen of
Austria, wife of
Cosmo (II.) de'
Medici.
Accademia. Portrait of a Young "Woman.
„ „ Cardinal Leopoldo
de' Medici.
Accademia. Catherine Cornaro ceding Cy-
prus to Venice.
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 Chenier. 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 Turke}', 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. His 'View on Long Island,' and
' Hook Mountain on the Hudson,' are among his
best known works. He died in 1865, bequeathing
a large sum of money, and the pictures known as
the 'Suydam Collection,' to the Academy.
SUYDERHOEF. See Suijdeehoef.
SWAGERS, Charles, the son of Frans Swagers,
painter, was born in 1792. He was professor of
painting at Dieppe in 1840. His son !^dodard
was a painter and lithographer, and practised in
Paris.
SWAGERS, Feans, 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. Prom his long residence
647
Swaine
A BIOGRAPHICAL DICTIONARY OF
Swebach. de Fontaine
in Paris, his pictures exhibit a mixture of 1he
Dutch and French schools. He died in Paris in
1836. His wife, Elisa, nee M^ei, 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.
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 Arts in 1764
and 1765. He was chiefly employed by the
dealers, who sold his copies of Vandevelde as
Unglish Vandeveldes. He died at Chelsea in 1782.
One MoNAMY Swaine, probably his son, painted the
same class of subjects.
SWAINE, John, engraver, was born at Stanwell,
Middlesex, in 1775. He was a pupil of Jacob
Schnebellie, and later of Barak Langmate. 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-
three.
SWANENBDRCH, Isaac Klaassen van, called
NicOLAl, painter, was born 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 bom 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 con-ect. The
following are among liis more esteemed plates :
Esau selling his Birthright] to Jacob ; after P. Moreehe.
The Resurrection ; after the same.
The Adoration of the Shepherds ; after Ah. 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 Ruhens.
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 Justice ;
after Joachim Vitewaal. 1605, 1606.
He died at Leyden, the 15th of August, 1612.
648
SWANEVBLT, Herman, landscape painter and
engraver, was born at Woerden in 1620. He is
said to have been a scholar 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 Ciaude
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 1665, but
the year 1690 has also been given, while Passeri
says he died in Venice in 1669. Works :
Copenhagen. Gallery. Summer Evening.
Dresden. Gallery, iliver Landscape.
Florence. Uffi-^^i. Landscape.
Hague. Museum, Italian Landscape.
Hampton Coiirt. Landscape with Cattle (and
two others).
Jjon&on. Bridgewatei' Ho. Landscape, with Figures load-
ing a Ship.
„ Dulwich Gall. Three Landscapes.
Herman Swanevelt has also left the following
etchings : they are better, on the whole, tlian his
pictures.
A set of eighteen small oval plates, representing Views
in Italy, and rural subjects ; entitled Varim campeslri
fantasia a Jlermano Swanevelt, invent, et in lucem
editce.
A set of thirteen Italian Landscapes, including the
title ; dedicated to Gideou Tallemeut.
A set of twelve Views in and near Rome ; entitled I)i-
verses Vues dedans et dehors de Borne, ^c. 1653.
A set of seven PJates 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.
SWART, Jan, (Schwartz,) painter and engraveri
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 Pinacothek, 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, Jacques Franqois
JoSBPH, 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-
cyolop^die Pittoresque ; ou, Suite de compositions.
Swebach
PAINTERS AND ENGRAVERS.
Szotaikow
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 Edouaed, painter and
engraver, the son of Jacques Swebach, was born
in Paris, August 21, 1800. He was taught by his
father, and at the Scole 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
Besangon Museum and at Cherbourg there are
examples of his work. He died at Versailles.
March 2, 1870.
SWEERTS, Michael, (Sweets,) 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 the 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
Ypres and Courtrai, and in the chapel at Ince-
Blundell Hall. He settled at Prague, where he
becanje director of the Academy, and corresponding
member of the Institute of France. He died at
Marienbad in 1879.
SWIDDE, WiLLBW, a native of Holland, born
about 1660, chiefly resided in Sweden. In 1695
he engraved several of the plates for a work en-
titled 'Sueoia 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 Waekup, 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.
SWITSER, Joseph, or The Swiss, was a pupil of
Johann von Aachen, and worked for the Emperor
about 1580.
SWITZER, Ohristoph, 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 and curious hand of that
age. In the Harleian Library was a set of wood-
outs, 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 Switzer; they were the originals from which
Hollar copied those published by Sandford. He
had a son named Cheistopheb, who also en-
graved on wood, and whose works are sometimes
confounded with those of his father.
^ 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 Venna 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 Saitbr.
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 Sheffiuld. He
was also a pupil of Alfred Stevens, and was
employed on the decoration of South Kensington
Museum. While at Sheffield he painted interiors
of rolling-mills, smiths' shops, &c., also a few
landscapes. There is a ' Smith's Shop ' by him, in
water-colour, in the South Kensington Museum.
He died in London in 1866.
SYLVELT. SeeZiJLVELT.
SYLVESTER, Don. See Silvesteo.
SYLVESTRE. See Silvestee.
SYLVIUS. See Silvius.
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 also 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 1823 he published a 'Treatise on
British Song Birds,' and later an edition of Wer-
ner'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
Horames illustres de Danemark,' published in 1746.
SYTICUS. See Soye.
SZOTAIKOW, , a Russian engraver, born
1777. He studied at the Petersburg Academy,
and died in 1843.
649
Tabar
A BIOGRAPHICAL DICTIONARY OF
Tamagni
T.
TABAR, Fbanqois Germain LiSopold, 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 Wounded.' He
exhibited frequently at the Salon between 1842
and 1869, in which latter year he died at Argenteuil.
TABORDA, Jose da. See Da Cunha Tabokda.
TACGONE, Innooenzio, 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 Fopolo he painted three large frescoes,
from the desigos 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. FRANOISI TACHONI 1489
OCTU. It is a free copy from a 'Madonna' by
Giov. Bellini, in the Scalzi, Venice.
TADDEO Di BARTOLI. See Bartoli.
TAFI, Andrea, a Florentine painter, and con-
temporary of Giotto. That he floarished in the
early years of the 14th century, and that his real
name was probably Bicchi, 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 Tafiis, olim
Bicchi. 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
that some 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
650
to Tafi 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
1294. 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,
flourished about the year 1730. He was a scholar
of Giuseppe dal Sole, and for some time painted
history in the manner of liis teacher, but after-
wards modified his style by studying Correggio,
Parraigiano, and Guido. He was an excellent por-
trait painter. He died in 1737. His principal
works are at Piacenza.
TAGPRET, Peter, (Dachbbbtt,) painter, a
native of Ravenshurg, who flourished about 1480.
Two works by him, painted in the style of Zeitblom,
are extant — the one, a ' Gregory the Great, Joseph
of Arimathea, and the Virgin ' ; the other, ' John
the Evangelist, Nicodemus, and a Bishop.'
TAIG, Sebastian, painter, bom at Nordlingen,
worked from 1516 to 1560 with J. Herlin and Jan
Schaufelin, and imitated Dtirer. 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 he spent some time in the study of
Annibale Carracci. On his return to his native city
he distinguished himself as a reputable painter of
history and architecture, both in oil and fresco.
He died in 1699.
TALFOURD, 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 Salmeggia.
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
Tamarozzo
PAINTERS AND ENGRAVERS.
Taraval
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 1630.
TAMAROZZO, (or TAMAROCUIO,) 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 by 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 Pacini,
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 Hamburg in 1658, studied at first under
Von Sosten and Pfeiffier, and then went first to
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
highly finished execution, and colour, which though
heavy at first, became clearer and more brilliant as
time went on. He died at Vienna in 1724.
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 the ceiling of the church
of the Teatini, and that of II Gesu 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 Goada. He a'so engraved some plates
for the ' Dresden Gallery.' Among others we have
the following prints by him :
Portraibs of the Dutch Stadtholders {Jointly with
Houhrdken).
George II., King of England, &c. ; afte)- Faber. 1752.
Charles VII., Emperor of Germany ; F. Tanje, sc.
Christina, Queen of Sweden ; after S. Bourdon.
His own Portrait ; after J. M. Quinckhard.
A Dead Christ ; after Francesco Salviati.
The Chastity of Joseph ; after Carlo Cignani.
Children Dancing ; after Aliano.
The Card-players ; after M. Angela Garavaggio.
Tarquin and Lucretia ; after Luca Giordano.
(The last five are in the ' Dresden Gallery.')
Tanje died at Amsterdam in 1760.
TANNER, Rddolph, 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 pupil of Horace
Vernet, and painted marine and 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 painter,
was born at Kilmarnock 1784. Of humble parent-
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 he 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 Tannook also practised as a portrait
painter.
TANZIO, Enrico Antonio, (called Tanzio
D'Alaqna, or Tanzio di Varallo,) bornat Alagna,
near Novara, in 1574. He was a competitor with
the Oarloni 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 subjects. 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 Tin-in 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 his 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 1669.
TARAVAL, Jean Hugdes, 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 retiirn 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 Gobelhi manufactory, and died in Paris the
same year. There is a ' Triumph of Amphitrite '
by him in the Louvre.
551
Taraval
A BIOGRAPHICAL DICTIONARY OF
Tardieu
TARAVAL, Lonis G-ustave, 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 the
designs of Dumont. Another member of the
family, Jean Gnstave 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
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, where he died in 1750.
TARDIEUj Ambroise, nephew and pupil of
Pierre Alexandre Tardieu, was born in 1788. He
was geographical engraver to the French Govern-
ment. Witli 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, mostiy
of very small size. He died in Paris in 1841.
TARDIEU, Elisabeth Claieb (nee Tournay),
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 Mercbant ; afta- Okarles Hutin.
Two plates of the Charitable Lady and the Catechist ;
after P. Dumesnil.
The Old Coquette ; after the same.
The Hepose ; after Jeaurat.
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 Leczyuska ; after Nattier.
Marie Henrietta of France ; after the same.
The Archbishop of Bordeaux ; after Restout.
Eobert Lorraine, sculptor to the King. 1749.
Bon BouUogne, Painter to the King ; the companion
plate.
Christ appearing to the Virgin ; after Guido.
Mary Magdalene penitent ; after Paolo Paynani.
The Pool of Bethesda ; after Restout.
Diana and Actseon ; after F. Boucher.
The Miseries of War ; after Teniers.
A pair of Landscapes ; after Cochin the younger.
He also engraved some plates for the 'Galerie
de Versailles,' after Le Brun. He died in Paris in
1795. Louise Tardieu, his wife, who was the
daughter of the celebrated medallist Du Vivier, also
engraved some plates.
TARDIEU, Jean Baptiste 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 agreat number of pictures for theGovern-
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-
652
tion to these he exercised his pencil on classical
and poetical subjects for prii^ate indivi(Juals ; 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 Besangon, Havre, Versailles, and
Marseilles.
TARDIEU, Marie Anne. See Roussblet.
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
Gerard, and by Benoit Audran. He was engaged
in some of the most important publications 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 Soanon, Bishop of Senez ; Nic. Tardieu ad vivmn
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 Luigi 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. Bertin.
Christ appearing to Mary Magdalene; after the same.
The Martyrdom of St. Peter ; after Seb. Bourdon. .
The Crucifixion ; after Joseph Parrocel.
The Conception ; after Antoine Coypd.
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 .Slneas ; after
the same.
Venus soliciting Jupiter in favour of .fflneas ; after the
same.
Juno directing jEolus to raise a Tempest against the
Fleet of .^neas ; 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 Auhert.
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 Domenichino.
Judith and Holofernes ; after Aliori,
Psyche abandoned; after Gerard.
Three portraits of Henry IV . ; ojfto' Janet &U&F. Fourbus.
Two of Voltaire ; after Largiltiere and Rovdon.
The Earl of Arundel ; after Van Dyck.
Marshal Ney ; after Gerard.
Napoleon in his Coronation robes ; after Isahey.
Marie Antoinette ; after Dumont.
Montesquieu, Paul Barras, and many other portraits.
TARDIEU, Pierre Franqois, was the nephew
of Nicolas Henri Tardieu, by whom he was in-
Tardif
PAINTERS AND ENGRAVERS.
Tatham
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 Btiiens,
Perseus aud 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.
TARICCO, Sebastiano, painter, was born at
Cherasoo, in the Piedraontese, 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 u
'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.
TASOA, Ceistofoeo, painter, was born at Ber-
gamo in 1667. After learning the rudiments of
design in his native city, he studied the works of
Antonio Bellucci 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.
TASNIERE, 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 Piola, in a coarse, tasteless style.
TASSAERT, Jean Pieree, painter, born at
Antwerp in 1651, was the son of Pieree Tassaeet,
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
ffew 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 Fbanqois Octave, painter,
born in Paris in 1800, studied under Girard and
Lethifere, and in the Boole des Beaux Arts. He
painted portraits, historical subjects, and genre.
Tassaert had a lifp 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 (Bordeaux 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 in London in 1803.
Amongst his plates 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 ; afte^' the same.
The Parting of Venus and Adonis ; after the same.
The Eubens Family ; after the same. 1768.
Kubens' three Children ; after the sajne.
3. Harrison ; after T. King. 1768.
The Four Ages ; after a drawing hy 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 ' jBneas 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-
amioi, 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 with 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 ihe master of Claude Lorraine. He died at
Rome in 1644. He has left a few slight but spirited '
etchings, of storms at sea and shipwrecks.
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
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 Italy, 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
653
Tatorao
A BIOGRAPHICAL DICTIONARY OF
Tavernier
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.
TATORAO, 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-book of 1530.
TAUBBRT, GuSTAV, painter, was born at Berh'n
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 the porcelain factory, and soon
after court painter. He became a member of the
Berlin Academy, and died in that city in 1839.
TAULER, (or Tauliee,) Jean, painter and
engraver, was born at Brussels, and established
himself at Liege about 1600. He there married
a sister of the painter, Simon Damery, and in-
structed her in painting. Pictures by him are to
be found in several churches and convents of Li^ge.
He died in 1640.
TAUNAY, Adeien, 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:fiLix, 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. Thi-oughthe 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 France, 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 FSte.
, , „ A Game of Bowls.
Paris. Louvre. Exterior of a Field Hospital in
Italy : and several others.
Versailles. Museum. Battle of Bbersberg.
„ „ Bonaparte receiving Prisoners on
the Battle-field.
„ „ The French Army descending the
Great St. Bernard : arid several
others.
TAUPIN, Maheicb Hippolyte, painter, born in
France in 1795. He was a pupil of Budelot, and
though the author of a few original works, is best
known as an excellent restorer and transferrer of
pictures.
TAUREL, Andr]5 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
654
Nicholas I., after Kriiger, was exhibited at the Salon
in 1844.
TAUREL, Jean 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 born at
Genoa in 1556. He was a favourite disciple of
Luca Cambiaso, whom ho accompanied to Spain
in 1683. He assisted him in his great work in the
Bscurial, 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. (Jeorge 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 Solfa-
ROLA, 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 the 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.
Vandergncht, and his own portrait by John Smith.
TAVERNIER, Franqois, a French historical
painter, was born in Paris in 1659. Ho 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.
TAVERNIER, — ■ — , 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 1869.
TAVERNIER, Melchiob, 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 chieflj portraits ;
but he also engraved some ornamental subjects
from his own designs. Among his plates we may
name eight of Gardes Fran^aises, and fifty^seven
small plates of ' Chevaliers du Saint Esprit ' ; also :
A Bust of the Duke of Alencon, crowned with laurel.
An Equestrian Statue of Henry IV. of France ; in-
scribed, Melchior Tavernier a Paris, gravevr et iiiipri'
meur du Hot, ^c. 1627.
He died in Paris in 1641, at an advanced age.
Taylor
PAINTERS AND ENGRAVERS.
Tegliaccio
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 Kauff-
mann. His works appeared at the Incorporated
Society between 1776 and 1782.
TAYLOR, Edward Clodgh, 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-five.
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 Incorporated Society of Artists,
where many of his works appeared. He died at
Edmonton, October 17th, 1807.
TAYLOR, Isaac, the son of the last-named, and
an English engraver, was born in London about
1760. 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 Boleyn ; after
Stothard.
Falstaff and his Tormentors ; after Smirke.
Assassination of Bizzio ; after Opie. 1791.
TAYLOR, Isidore JnsTiN S]&v:fiRiN, Baeon,
painter, engraver, and art-writer, was born at
Brussels, of French parents, in 1789. He studied
at the Ecole Polytcchnique, 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 d'Afrique ' (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 6th, 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 1656) and of himself
are in the Bodleian.
TAYLOR, John, an English marine and land-
scape painter, was born 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,' born
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. Gresse, 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 English 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 21st of November, 1838.
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 be 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.
Gicyn.
~ 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 B. Cook.
The Duke of Wellington ; after Sir T. Lawrence.
TAYLOR, William B. Sarsfibld, 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 1860.
TEDESCO, Adamo. See Elsheimer.
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 1867. There are by him :
Amsterdam. R. Museum. Italian Landscape. 1823.
,, „ Cascade at Tivoli. 1824.
Munich. Finakothek. View of Aricia.
TEGLIACCIO, Niccol6 di Ser Sozzo, a Sienese
miniaturist, who flourislied about the middle of the
655
Teicliel
A BIOGRAPHICAL DICTIONARY OP
Temple
14th century, and died in 1363. His only known
worlc is an 'Assumption,' forming tlie frontispiece
to tlie ' Codex Caleffo,' in the Aroliivio Delle
EiformaKioni, at Siena.
TEICHEL, WiLHELM, engraver, born at Berlin
in 1816, executed the following plates :
A Roman Woman with a Child in her Lap ; after E.
Ddge.
Italian Country Girl ; after Soqueplan.
A Hartz Mountain Girl ; after E. Met/erheini.
Frederick the Great ; after Kaulhach.
He died in 1873.
TEISSIER, Jan Gboeg, 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, Jean, 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 Huitres ; after JBeiiard,
Le Marchand de Poissoas de Dieppe ; after the same.
TEJADA, Moreno, a Spanish engraver, who
made some plates for the quarto edition of the 'Con-
quest of Mexico,' published at Madrid in 1783.
TBLBTN, William, one of the most successful
of English scene-painters, was born 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 lb. 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 : Telbman ■ op ■ den ■ dich •
GOLTSMIT • OS ' PItBNTESNIBB ' TO ' WESEL. aud with the
letters T. "W.
St. Christopher.
St. Crispin and St. Crispinian.
TEMINI, Giovanni. The name of this engraver
is afQxed 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 Poligno,'
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.
TEMMINCK, 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.
656
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-gelling.
He is best known by his ' Cries and Habits of
London,' (60 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, Qaeen of James II. ; after the same.
Sir T. Killigrew.
Roger L'Bstrange.
Ernest, Count Stare mbergh.
William, Prince of Orange.
William III.
Portrait of himself, with the motto Cavete voUs Principes.
Andromeda ; after An. Carracei.
Susannah and the Elders ; after Cornelissen (?).
TEMPEST A, Antonio, born at Florence in 1565,
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 Marohese
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, 'J^ , /hi • _Pj . ^$/\.
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 Lahours of Hercules ; thirteen plates.
The Ages of Man ; four plates.
The Entry of Alexander into Babylon.
Diana and Actseon.
The Crucifixion ; inscribed Ant. Tempestas. 1612.
Many plates of Battles, Hunts, and Cavalcades.
He died at Florence in 1630.
TEMPESTA, (Tkmpestino,) Domenico. See
Marchi.
TEMPESTA, PiETEO. See Molyn, Pietbr.
TEMPESTI, Giovanni Battista, born 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. Ghiara 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
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
Bewick's apprentices. For his master's 'British
Birds ' he engraved the plates of the rough-legged
Templetown
PAINTERS AND ENGRAVERS.
Tenlers
falcon, pigmy sand-piper, red sand-piper, 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, Viscountess, {n^e Lady Mart
Montague,) was born about 1770. She designed
some groups for china, which were executed by
Messrs. Wedgwood. There is at South Kensington
an Indian ink drawing by her. She died in 1824.
TEMPORELLO, II. See Caselli.
TEN GATE, Hendbik Gerrit, a Dutch painter,
was born at Amsterdam in 1803. He painted town
views, winter scenes, &c., with moderate ability.
He died in 1866.
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
villages, 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.
TENTERS : the pedigree of the Teniers family
is thus given by Wauters :
Julian Teniera, or Talaner, of Ath,
settled in Antwerp 1558 ; died 1685.
Julian (II.).
1572—1616.
David (I ),
1582—1049.
Julian (ni), Theodore '(L),
master iu 1636. master in 1636.
David (II.),
1010—1690.
Juliai (IV.), TheoJove (II.)
1618—1679. 1019-1697.
Abraiiam,
1629—1670.
David (III.).
1638—1686. mar. J
Cornelia.
Erasmus Quellinus.
David (IV.),
lora-irn.
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 festivals
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 is by him a
' Portrait of a Prelate,' in the Hermitage at Peters-
burg, and an 'Armoury' in the Gallery at Madrid.
He died in 1670.
TENIERS, David, the Elder, was born at Antwerp
in 1582. His father was one Julian Teniers, a
mercer, who died in 1685, leaving also an elder
son Julian, who was David's first master. The
latter afterwards entered the school of Eubens.
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 Flanders he painted rural sports, merry-
makings, temptations of St. Anthony, fortune-tell-
ers, &c. He treated those subjects with con-
siderable humour and ingenuity, but his fame has
been eclipsed by that of his son. Works :
Berlin.
Museum.
Temptation of St. Anthony.
Brussels.
»»
Landscape.
Dresden.
Gallery.
A Tillage Fair, and six less im
portant examples.
London.
Nat. Gal.
A Eocky Landscape.
jj
„
A Village Scene.
jj
„
Playing at Bowls.
Munich.
Gallery.
A Eocky Landscape.
»
»
Village Scene, with Peasant.
Petersburg
. Hermitage.
A Painter in his studio.
»»
n
Two Landscapes.
Vienna.
Gallery.
Juno, Jupiter, and lo.
Vertumnus and Pomona.
))
)>
Pan, Nymph, and Satyr.
ij
Four Landscapes.
The following etchings are ascribed to the elder
Teniers :
A Pilgrim, with his staff and chaplet.
A Peasant putting a plaster on his hand.
Bust of a Peasant with a fur cap.
He died at Antwerp in 1649.
TENIERS, David, the Younger, was born at
Antwerp in 1610, and baptized in the church of St.
Jacques on the 15th of December. His father was
David Teniers the Elder, his mother Dympne Corne-
lissen de Wilde, the daughter of a captain working
on the Scheldt. There is no record of the year in
wliich his apprenticeship to art began, or of the
master who first taught him. This, however, was
no doubt his father, of whose style the son's is, in
fact, a sublimation. It has often been siiid that
after leaving the paternal studio, be workL'd first
under Bi'ouwer 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 u, master by the
Corporation of St. Luke. It may have had its
origin in the choice of a wife made by Teniers.
On the 22nd July, 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. Anne died in 1666, and six months
laterTeniers married Isabel, the daughter of Andreas
de Fren, secretary to the Council of Brabant.
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 ho
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. Teniers set himself to make copies
of the pictures, more than two hundred in number,
in ihe Archduke's collection, and afterwards pub-
lished 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. However this may
be, it is certain that his father, Philip IV., con-
ceived a great admiration for the Flemish master,
and acquired those examples 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 portrait, and was sent to
England to buy Italian pictures for the Count of
Fuensaldagne.
657
Teniers
A BIOGRAPHICAL DICTIONARY OF
Teniers
In 1650 Teniers migrated from Antwerp to
Brussels, becoming owner also of the famous coun-
try-house near Berok, 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, a 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
r^cu, 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 publiclj' exercised his
profession for gain. This condition, perhaps, was
fatal, for no more is heard of liis 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 iiis 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. Ttie Guard-room.
„ „ Tlie Hour of Kest.
„ „ The Village Idii.
„ „ The Temptation of S. Anthony.
„ „ Kermesse.
„ „ The Farm.
„ „ The Players.
Museum. Panorama of Yalenciennes.
„ Flemish peasants drinking.
„ Morning.
„ Afternoon.
„ Old "Woman cutting Tobacco.
GaXlei'y. 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 Kich Man in Hell.
Museum. The Five Senses.
„ The Village Doctor.
„ Flemish Landscape.
„ Kermesse.
„ Interior of the Archduke Leo-
pold 'William's Gallery.
„ Temptation of S. Anthony.
Portrait of a Man in black.
A Village Fair (signed and
dated 1641).
Peasants in an 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.
Hustle Cap.
Peasants merrymaking.
The Prodigal Son as Swineherd.
Brickmaking in a landscape
Antwerp.
Berlin.
Brussels.
Dresden.
Gailen
Dublin.
Dulwich.
JVat. Gallery.
J)
GaZlery.
558
Dulwich.
Edinburgh.
Florence.
»
Glasgow.
Gallery,
Nat. Gall.
Vffizi.
Gallery.
Hague.
Hampton Court. Palace.
London. Nat. Gall.
Bndyeioater Gall.
Buckingham Pal.
Luton House.
Madrid.
Gallery.
Muuich.
Pinakothek.
Paris.
Louvre.
Figure of a Pilgrim.
Figure of a Female Pilgrim.
A White Horse with a Chaff-
cutter.
A Castle and its Proprietor.
The Guard-room.
Peasants Playing Skittles.
S. Peter weeping (pasticcio).
Man and Old Woman at an Inn.
"Woody landscape.
Flemish landscape.
Milking-time.
A Hunting Party.
The Miseries of "War.
Jealousy.
A Surgical Case.
S. Jerome.
Peasants before a Fire.
Landscape with figures.
A nd three others^ pasticcios.
The Alchemist.
Kitchen Interior.
Interior of a Farm.
And several copies and pasiiccios.
A Music Party.
Boors regaling.
The Misers.
Players at Tric-trac.
An Old Woman peeling a Pear.
Teniers' Chateau at Perck.
The Four Seasons (/oMC^Vto'es).
River Scene.
The Surprise.
Dives, or the Rich Man in Hell.
The Village F4te (Fete aux
Chaudrons),
The Toper.
Alchemist in his Laboratory.
Village "Wedding.
Kermesse.
Peasants playing Cards,
Boors playing Cards.
Same subject.
A View in Flanders — Winter.
Dutch Peasants Merry-making.
Boors playing Cards.
Kitchen Interior.
Landscape with a Chateau and
Figures.
Le Tambour JBaitant.
The Alchemist.
And seven others.
Robbers plundering a Farm-
house.
Card Players.
Landscape with Peasants
carousing.
The Ninepins' Players.
A Village Festival.
Le Soi Boit.
The Alchemist.
A Surgical Operation.
The Temptation of S. Anthony.
Picture Gallery of theArchduke
Leopold William.
The Story of Armida, in twelve
pictures.
And thirty-three others.
Scene in a Tavern.
The same subject.
The Alchemist (a portrait of
himself).
Four Views of the Archduke
Leopold William's Gallery.
Great Fair before the church of
Santa Maria dell' Imprunata,
Florence.
A Peasant smoking.
And eighteen others.
S. Peter's denial.
The Prodigal Son with Courte-
sans.
The Seven Works of Mercy.
Temptation of S. Anthony.
Village Festival.
Teniers
PAINTERS AND ENGRAVERS.
Ter-Borch.
Paris. Louvre. An Inn by a River.
„ „ Feasants 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.
Atid twenty-one in the La Case Collection,
Petersburg. Hermitage. Corporation of Crossbowmen of
S. Sebastian,
„ „ A Guard-room,
„ „ A Village Festival.
„ „ Wedding Peast.
„ „ The ' Angel ' Inn.
„ „ Kermesse.
„ „ Card Players.
And thirty-three others.
Vienna. Gailery. The Archduke Leopold William
bringing down the Bird.
„ „ The Archduke Leopold Wil-
liam's Picture Gallery.
5, „ The Old Man with the kitchen
Maid,
„ „ Village Wedding.
„ „ Bobbers plundering a Village.
„ „ Peasants shooting with Bows
and Arrows.
„ „ The Sausage-maker.
And twelve others.
TENIERS, David III., painter, born at Antwerp
in 1638, was the eldest of the eleven children of
David Teniers the Younger. Helena Fourment, 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.
Tlie respectability of his talents is sufiSoiently 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 liis father, who signed his
pictures and cartoons David Teniers junior. A
' S. Dominic,' which still exists in the church at
Perck, is a case 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, Jdlian, painter, another son of
Julian, the mercer, has been often confounded
with his father. He was born in 1672, and was
therefore older than his brother, David Teniers the
Elder, who was bound his apprentice in 1595. He
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.
TEOSCOPOLI. See Theotocopuli.
TERASSON, H., engraver, practised in London
early in the 18th century. He engraved some
entomological plates, and, in 1713, a ' View of the
Banqueting-House, Whitehall,' from his own design.
TER-BORCH, Gerard, commonly called Tek-
BUBG, was bom at Zwolle in 1617, and studied art
under his father, an obscure painter, who had visited
Italy ; he was afterwards sent to Haarlem, and
also visited Germany and Italy. He was very
Museum.
successful in his eaily years in the painting of
portraits on a small scale. In 1646 — 1648 he
was at Milnster, where the plenipotentiaries of
Spain and the delegates of the Dutch provinces
were met to ratify the treaty of peace with Philip
IV. His picture of that event, with the portraits
of the assemWed delegates, is considered his master-
piece, and is now in the National Gallery. He
was fond of painting series of pictures, with some
slight dramatic connection. Ter-borch visited the
court of Spain, and was received with honour
by Philip IV., who knighted him. He also visited
the courts of France and England, but left no
traces of his visit. On his return to Holland he
probably resided for a time at Haarlem, but
finally settled at Deventer, where he married his
cousin, and became a member of the town council,
and afterwards Burgomaster. His portrait in this
capacity, iu the Hague Museum, painted by himself
about the year 1660, represents him wearing a
miijestic 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 greyish
moustache. Terboroh often introduces his own
figure into his pictures. His life appears to have
been free from incident. He died at Deventer, the
8th December, 1681, leaving no children. His
pictures are comparatively few in number. The
following is a list of the more accessible :
His own Portrait.
Portrait of Geertjen Mat-
thijssen, his Wife,
Paternal Counsel.
The Mandolin Player,
Paternal Admonition,
Portraits uf his Wife and
his Wife's Pather.
The Physician's Visit,
Two Male Portraits,
The Smoker.
The Grinder's Family,
The Officer and the Trum-
peter.
Young Lady washing her
hands.
Young Lady playing the
lute.
Young Lady in white satin
with her back turned.
Portraits of M. and Mme.
Colenbergh.
The Message.
His own Portrait.
Portrait of Gaspar von
Kinsohot.
The Music Lesson.
The Peace of Miinster.
The Letter.
The Trumpeter and the
Letter,
Boy and Dog,
Soldier offering Money to
a Young Woman.
The Music Lesson.
The Concert,
Meeting of Ecclesiastics,
Learning to read [La Caze
Col).
Cavalier and Lady,
The Jew Musician,
The Letter.
The Rustic Messenger.
The Duet.
Interior of an Inn, with
an Officer and a Young
Woman.
The Apple-peeler,
Portrait of a man in black,
659
Amsterdam,
Antwerp.
Berlin,
Dresden,
Gallery.
Haarlem,
Hague,
»
London.
»
Munich,
Paris.
Museum.
Museum.
ft
Nat. Gall.
Buckingham Pal.
Gallery.
)»
Louvre.
Petersburg.
Hermitage.
Vienna.
Gallery.
Liechtenstein Gal.
Terbruggen
A BIOGRAPHICAL DICTIONARY OF
Terzi
TERBRUGGEN, Hendeik, 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 many pictures
for the churches and for private collections. When
Rubens made his tour through Holland, he pro-
nounced Terbruggen to be one of the aWest painters
of his country. Of his works we may name : at
Deventer, 'The Four Evangelists ;' in the Copen-
hagen Gallery, ' Christ Crowned with Thorns ; ' and
in the Wallraf Museum at Cologne, ' Esther and
Vashti.' He died at Utrecht in 1629.
TBRENZI DA URBINO, Tbeenzio, called also il
RoNDOUNO, was 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.
TERH IMPEL, Anthonis, a painter of landscapes
and kermesses, flourished at Delft about 1650. He
painted 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
paioted a few historical pictures of slight merit.
TERMISANO, Decio, a Neapolitan, and pupil
of Giovanni Filippo Criscuolo, and of Pittone and
Marco da Siena, was born in 1665. Dominici, in
his ' Lives of the Neapolitan Painters,' mentions
a picture by this master in the church of S. Maria
detta a Cliiazza, at Naples, representing the ' Last
Supper ; ' it is signed and dated 1697. He died
in 1600.
TEKNITE, WiLHBLM, painter, was born at Neu-
Strelitz in 1786. He served in the army during
the War of Deliverance, and later studied in Paris
^.nder 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 Mecklenburg-
Strelitz.' Ternite died in 1871.
TEROL, Jayme, a Spanish painter, and pupil of
Fray Nicolas, who from 1604 to 1607 assisted
Rodriguez Espinosa on the high altar of the church
of St. John Baptist at Muro, Valencia.
TERRY, G., an English engraver in mezzotint,
who flourished from 1770 to 1788. He was chiefly
employed in engraving portraits ; among others,
we have the following by him :
The Eev. John Towers ; after Fisher. 1770.
The Eev. "William Huntingdon. 1786.
The Rev. Eichard Johnson. E.A., Chaplain at Botany
Bay. 1787.
George Saville Carey, prefixed to his Lectures on
Mimicry.
TERRY, H— J—, was born in England, but
studied under Calame, in Geneva, and was for
several years engaged in reproducing his master's
vvorks by lithography. He subsequently turned
his attention to landscape painting in water-colour,
560
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, Augustyn, 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 sufficient 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 afterwards 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,
1767. His two sons, Adgdstyn the younger, and
PiETER, were also painters. Augustyn, 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. Pieter combined literature
with his work as a painter. Born at the Hague in
1714, he became secretary of the ' Pictura ' Society
in 1762. He wrote sequels to Hoet's catalogues
and various notices of Dutch artists. He died in
1798.
TERZI, Ceistoforo, 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
Terzi
PAINTERS AND ENGRAVERS.
Testelin
his works at Bologna, among which the most
worthy of notice is his ' S. Petronio Icneeling
before the Virgin,' in the church of S. Giacomo
Maggiore. He died at Bologna in the prime of
life in 1743.
TERZI, Feancesco, born 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 1600. A series of portraits by him of the Austrian
arch-ducal family was afterwards engraved.
TESAURO, Beknaedo, born at Naples in 1440,
was of the same family with Filippo Tesauro. He
was a disciple of Silvestro dei 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 1600.
TESAURO, Filippo, or Pippo, 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.
TESCHNER, Alexander, painter, born at Berlin
in 1816, began his studies at the Berlin Academy
in the atelier of Professor Herbig, and studied later
under Waoh. On the death of the latter he turned
his attention from historical to religious art, by
which be 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 him 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, Mauro Antonio, painter and engraver,
born at Montebianco in Modena in 1730, first worked
with the heraldic painter Morrettini. By study
of the great masters, and by copying the designs
of men like Metelli, Colonna, an^ others, be 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, bom at Rome about the year 1630, is sup-
posed to have been taught by his uncle, after
VOL. II. 0 0
whose designs he etched. He died in 1655. We
have, among others, the following plates by him :
Portrait of Pietro Testa ; J Cesai' Testa, sc.
The Death of Dido ; after P. Testa.
The Centaur Chiron teaching Achilles to throw the
Javelin ; after the same.
The Emperor Titus consulting Basilides respecting his
expedition against Jerusalem ; a,fteT the same.
The Communion of St. Jerome ; after Domenichino.
TESTA, Pietro, called II Lucchesino, born at
Lucca in 1617, was a pupil of Pietro Paolini. He
afterwards studied in Rome, first under Domeni-
chino, and afterwards under Pietro da Cortona ; 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 \J^ • 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 Son ; F.
Testa, fe. Boma.
The Martyrdom of St. Erasmus.
St. Jerome praying.
St. Eooh and two Bishops praying for the cessation of
the Plague.
Thetis directing the infant Achilles to be plunged into
the river Styx; J*. Testa, fecit.
Achilles dragging the Body of Hector round the walls
of Troy ; P. Testa, aq.for.
Socrates at Table with his Friends ; P. Testa. 1648.
The Death of Cato.
The Sacrifice of Iphigenia.
Four plates of the Seasons, with the Signs of the Zodiac.
The Triumph of Bacchus.
Faith, Hope, and Charity.
Magdalen in the Desert.
A young 'Woman in a Swoon, surrounded by Cupids.
TEST ANA, GiosEFFO, a relation of Giovanni 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
'EfiBgies 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 Battista, an Italian en-
graver, born at Genoa about the year 1645, resided
chiefly at Rome, where, in conjunction with Guil-
laume Vallet and Etienne Picart, he engraved
some plates from medals and antique gems, for the
work of Canini. There are also a few independent
plates by him, among them the following :
The Guardian Angel ; after Pietro da Cortona.
The Baptism of Constantino ; 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 on art. He wrote a
561
Testelin
A BIOGRAPHICAL DICTIONARY OF
Thelott
work entitled ' Sentimens des plus habiles peintres
snr la pratique de la peinture et de la sculpture,
mis en tables de pr^ceptes, aveo plusieurs discours
acad^miques, on Conferences tenues en I'Acad^mie
Royaledesdits 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 hie 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, born in Paris in 1615, was a pupil of
Simon Voiiet. 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 1806. 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 illustrator of books.
TEUCHEB, JoHANN Christoph, a German en-
graver, who practised in Paris about the year 1750,
where he engraved the ' Virgin of the Rose,' aflfer
Parmigiano, for the publication known as the
' Dresden Gallery.'
TEUFEL. -SeeTnuFEL.
TEDFEL'S MULLER. See Muller, Friedrich.
TEUNISSEN. See Anthoniszoon, Cornelis.
TEXIER, G , a native of Paris, and pupil of
Ph. Le Bas, who flourished about the year 1780.
He engraved several landscapes and genre pictures
of the Watteau school in a neat, clear style. He
was still living in 1824.
TEXIER, 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
Buoh interiors. Some of the plates for the 'Mus6e
Frangais,' and for De Clarac's ' Mus6e de Sculpture
antique et moderne,' are by him. He died in Paris
in 1864, from the effects of a carriage accident.
THACKER, Robert. By this English engraver,
who signs himself designer to the king, we have a
large print, in four plates, representing Salisbury
cathedral. He flourished about 1670.
THACKERAY, William Makepeace, 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 Irish
Sketch Book,' 'The Paris Sketch Book,' ' Memoirs
of Mr. Charles Yellowplush,' 'The Book of Snobs,'
' Catherine, Little Travels, and the Fitzboodle
Papers,' 'Christmas Books,' 'Vanity Fair,' ' Pen-
dennis,' ' Denis Duval' (jointly with F. Walker), and
562
' Burlesques ' (jointly with E. 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 his sketches was published in 1875.
THATER, Julius Caesar, 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 humble 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 - 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 Weimar as a teacher in the Art
School, and in 1843 returned to his native town,
where, in 1846, he was appointed teacher at the
Academj' ; 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 Venice ; after the same.
Designs for Faust ; after Schioind.
Hitter Curb's Brautfahrt ; after the same.
St. Elizabeth's Works of Mercy ; after the same.
Cinderella ; after the same.
Barbarossa in Milan ; after M'ucke.
The Battle of the Giants ; after KauUach.
Chrimhild and Siegfried's Corpse ; after Schnorr.
The Fates ; after Carstens.
Charon ; after the same.
The Battle of the Saxons ; after Kaulhach.
Rudolph of Hapsburg ; after Schriorr.
Designs for the Campo Santo in Berlin ; after Cornelius.
The Four Eiders of the Apocalypse ; after the same.
The Golden ABC; after Kortig.
The Psalms ; after the same.
THEER, Robert, miniature painter and litho-
grapher, was bom at Johannesberg, in Silesia, in
1808. Among bis 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 Dusseldorf and
Munich, and afterwards painted portraits. He died
at Augsburg in 1833.
THELOTT, Ernst Karl Gottlieb, engi-aver,
bom at Augsburg in 1760, studied at Augsburg
and Munich, and then settled at DUsseldorf, where
he was named professor,and engravedseveral plates
for the 'Diisseldorf Gallery.' He worked chiefly
for almanacs. His beet independent plates are :
The Sleeping Girl ; after Amorosl.
The Sick Lady ; aftei' Jan Steen.
He died at Augsburg in 1839.
THELOTT, Jacob Gottlieb, (sometimes called
Johann Gottfried,) a German engraver, was bom
in 1714. He engraved several portraits ; among
others, that of ' Guido Patten, M.D., Paris.' He
also engraved som^of the plates' for a work entitled
' R6pr&entation des Animaux de la Menagerie de
Prince Eugene,' published in 1734. He died in
1773. His father Johann Andreas, a famous gold-
smith of Augsburg, (bom 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 Karl, and went to Munich in
1814 to study portrait painting under Langer. In
1821 he was employed in Diisseldorf by Prince
Thgnot
PAINTERS AND ENGRAVERS.
Thevenin
Frederick of Prussia, and was afterwards engaged
in painting portraits of various princely personages
in Frankfort, Berlin, 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 Ecole 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 Paris,
October 11, 1857.
THEOBALD, Henry, an English water-colour
painter of little note. He was elected an associate
of the Institute of Painters in Water-colours in 1847,
and died in 1849.
THEODORE, , was a scholar of Fran9ois
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 Roys or Francisque pinieit, Simon
excudit cum privilegio 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 Fderstenbebg.
THEODORICH of PRAGUE, a painter employed
by the Emperor Charles IV. at Prague, flourished
from about 1348 to about 1375. A series of 126
colossal half-length figures of saints, teachers, and
rulers of the Church, executed in tempera, on panel,
for the church of the Holy Cross, at Sohloss Carl-
stein in Bohemia, are ascribed to him. One of the
series, St. Ambrose, is now in the Imperial Gallery
at Vienna. Akin to these pictures is an altar-piece
in the Gallery of the Estates of Bohemia at Prague,
from the Provost's House at Raudnitz, containing
the Virgin and Child adored by the Emperor
Charles IV. and his son Wenceslaus, with Saints
and the donor. There is also a 'Crucifixion' by
the same artist in the Gallery at Vienna.
THEODOROS, a native of ancient Athens, was
a painter of considerable celebrity. Among his
principal works were the following: ' Clytemnestra
and jEgisthus 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, £tiennb, (or THiAULON,) 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, he was a slow worker, and his
pictures are not numerous. Hfs 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
VV^oman,' 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 flourishedm
0 0 2
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.
THEOPHILDS, (Theophilus Monachus, or
Theophilus Pkesbtter,) a miniaturist, and a writer
upon the processes of painting, flourished, probably
in Lombardy, 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,
THEOTOCOPULI, (or Teoscopolo,) Dombnico,
called also II Greco, and El Griego, is supposed
from his name to have been of Greek origin, but
was born in one of the Venetian States. It is also
said that he was a scholar of Titian, but this is
uncertain, as he is not named among that master's
disciples, though in many of his earlier pictures
there is a manifest imitation of his style. In
most of his work the style of Tintoretto is clearly
the chosen model, and it is more than probable
that Robusti was his true master. One of his best
pictures is the ' Parting of our Lord's Raiment,'
in the cathedral of Toledo. The time of his birth
is placed about 1548, but the most authentic ac-
count of him, as an artist, commences in 1577,
when, according to Cean Bermudez, he was prac-
tising at Toledo, having been summoned to Spain
by Philip II. to work in the Escurial. It is certain
that the greater part of the pictures ascribed to
hira were painted in Spain, and he occupies an
important place in the history of art in that country.
Many of the distinguished Spanish painters were
his scholars, or at least his disciples. Theotocopuli
was also an architect and a sculptor; some will
have it that he was an engraver on wood as well,
but this is doubtful. He died in 1625. Works :
London. Nat. Gallery. St. Jerome.
Madrid. Gallery. A Dead Christ; and several
portraits.
Petersburg. Hermitage. Portrait of Alouso BrolUa.
Vienna. Gallery. Portrait of a Young Man.
THERBUSCH, Anna Dorothea. See Lisc-
ZEWSKA.
THESSEL, Anton Moritz FiJRCHTEGOTT, was
born at Wurzen in Saxony, in 1830. He studied
first under Friedrich Nestler, and then worked frorii
nature, in the neighbourhood of Dresden, Bavaria,
the Tyrol, and Switzerland. He died at Dresden
in 1873.
TH:^VENIN, 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 :
(Edipus in the Storm with Antigone.
The Capture of Gaeta by Nay.
Augereau at Areola. ( Versailles.)
The Passage of the French over the St. Bernard. {Do)
The Battle of Jena.
The Martyrdom of Stephen. {Paris; S. Etienne da
Mont.)
And other works at Angers, Douai, and the Great
Trianon.
THi^VENIN, Claude NoSl, painter, was born
at Cr6mieux (Isfere), 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
563
Thevenin
A BIOGRAPHICAL DICTIONARY OF
Thierry
hitter year lie died in Paris. -At the Ministere de
rinterieur there is an ' Apostles at the tomb 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.
THBVENIN, Jean Charles, engraver, born at
Rome in 1819, was the son and pupil of Charles
Thevenin, and pupil also of Merouri 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 della Tenda ' ; after Raphael (!* Domenico
Alfani).
The Mandolin Player ; after Ingres.
Susannah in the Bath ; after Cotregc/io.
The Children of Charles I.; after Vandyck.
Beatrice Cenci ; after Guido.
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 1758, served till 1783 as a soldier,
and then at Hull took to engraving visiting cards
and addresses. His Head of an Old Woman, after
G. Dou, first brought him into notice, and he was
afterwards employed by Boy dell on the large plates
for his ' Shakespeare. ' Of these he engraved scenes
from
The Tempest ; after Wriyht.
The Merry Wives of Windsor ; 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 JVorthcote.
Kichard II. (Bolingbroke entering London) ; after the
same.
Henry IV. (the Boar's Head Tavern) ; after Smirke.
Henry IV. ^Henry asleep) ; after Boydell.
Henry VI. (Countess of Auvergne's Castle) ; after Opie.
Mortimer and Richard Plautagenet ; after Northcote.
Eichard III. (Burial of the Children) ; after the same.
Henry VIII. ; after Peters.
Timon of Atherls ; aftei' Opie.
Cymbeline, Imogen and Pisanio ; after Hoppner.
Hamlet (Ghost on the Platform) ; after Fuseli. '
Of his independent plates, the best is ' Woleey
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
1757. 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
' Inatitut,' and Professor of Perspective at the Ecole
des Beaux Arts,, and wrote a practical handbook
on that science, which was published by his pupil,
Cliapuis. 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.
Battieta 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 resembhng that of Mellan,
664
at a respectful distance. The following independent
prints by him may be mentioned :
St. Theresa ; after Bernini.
St. Bibiena; after the same.
St. Thomas d'Aquinas ; after Giacinto Calandrucci.
St. Eosa Imeeling before the Virgin ; after Baldi.
The Martyrdom of St. Peter ; ccfter the same.
St. Peter of Alcantara ; after the same.
The Crucifixion ; after Pulzone.
THIELE, Johann Alexander, was born at
Erfurt, in Saxony, in 1685. He began life as a
soldier, and is said to have been a scholar of C. 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 Dietrioy. 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 Friedeich
Alexander, born 1747, died 1803, was also a
landscape painter and engraver.
THIELEN, Jan Philip van, (from his mother
called RiGOULT.s, or Righolz,) Herr van Codwen-
BEROH, 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 Rorabouts,
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, Maria Theresa, Anna Maria, and Frances
Ka'IHARina, 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.
THH5N0N, Anne Claude, 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.
THIBRRIAT, AnGUSTiN 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 Bodts.
THIERRY, E. J., engraver, born in Paris in
1787, was the son and pupil of Jacques Etienne
Thierry, the architect. He was chiefly engaged
Thierry
PAINTERS AND ENGRAVERS.
Thomas
on plates for books on architecture. He was the
author of a 'Cours pratique de Dessin lin^aire,
contenant 145 Planches.' He engraved the plates
for Delaborde's ' Voyage en Espagne.'
THIERRY, Joseph Feanqois DflSlKii, painter,
born in, 1812, was a pupil of Qros, and studied
at the Ecole 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. Quentin Durward.
The Wandering Jew. L'Etoile du Nord.
The Bleeding Nun. Midsammet Night's Dream.
He died in Paris, November 11th, 1866.
THIERRY, WiLHELM, 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
Weinbrenner, and finally devoted himself entirely
to architecture. He etched a few landscapes. He
died in 1823.
THIERS, Baron db, a French amateur engraver,
who etched a few landscapes and subjects after
Boucher. He was living about the year 1760.
THIERS, Le. See Lethiebe.
THIFERNATI, Francesco, an artist of the
Perugian School, of whom very little is known. An
' Annunciation ' in St. Domenico, a similar subject
in the cathedra], 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 1613, and is
said to have marked his plates with the initials
M. T., sometimes separate, sometimes in a mono-
gram, JlJJ^.
THIRION, Charles Viotob, 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.
THIRTLE, John, an English water-colour
painter, born at Norwich in 1774, of humble
parentage. He was one of the Crome 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 a,s
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, LEONARD, 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.
THOM, 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
the year 1730. 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 the 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, where 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 bom 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, George Hodsman, painter, was born 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 stafi of that journal. He was much em-
ployed by the Queen to make drawings, and Her
Majesty possesses an album of such sketches, in
which she herself and Prince Albert frequently
figure. 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 effects of a fall from
his horse. The following pictures are in the Royal
collection :
The Marriage of the Prince of Wales.
The Marriage of the Princess Alice.
Distribution of Crimean Medals by the Queen.
THOMAS, Jan, born at YprSs, 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
1662. In the church of the Barefooted Carmelites,
at Antwerp, there is an altar-piece by Thomas,
' St. Francis kneeling before the 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. etfee.
A Shepherd and Shepherdess.
A Satyr embracing a Shepherdess.
A Pastoral Group, three Men and three Women, one of
the men playing on the Bagpipes.
665
A BIOGRAPHICAL DICTIONARY OP
Thomas
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. l)ou.
A Lady, supposed to bear some resemblance to Christina
of Sweden, attended by an armed Cupid.
The bust of a "Warrior wearing a helmet, and holdmg
a lauce over the left shoulder. Motto, Pro Deo et
Fatrid.
Portrait of the Emperor Leopold.
Portrait of Titian. Inscribed: Dato in luce in questa
nuova invenzione in Vienna li SO Mano I'anno 1661.
(Perhaps his masterpiece.)
Diogenes the Philosopher.
Thomas died at Vienna in 1672.
THOMAS, Jean Baptiste, painter, bom^ m
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, &o. He died in Paris in 1834.
THOMASSIN, Henri Simon, the son of Simon
Thomassin, 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. 1728.
Louis, Dauphin of France ; after Tocque.
The Bust of Cardinal de Fleury, supported by Diogenes ;
after Rigaud.
Jean Thierry, Sculptor to the King; after N. Lar-
gilliere.
Carlo Cignani, Painter ; after a portrait by himself.
Christ with t.he Disciples at Emmaus; after 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 1560. 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
Souveraius 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 Mercosur.
' Christ and the Apostles ; ' after Raphael. A set of
' fourteen plates.
St. Margaret ; after the same.
St. Cecilia ; after the same.
The School of Athens ; after the same.
The Dispute of the Sacrament ; after the same.
The Battle of Ostia ; after the same.
The Incendio del Borgo ; after the same.
The Holy Family ; after Fedenyo Zuccaro.
The Adoration of the Magi ; after the same.
The Miracle at the Marriage of Caua; after Taddeo
Zuccaro.
566
Thompson
The Nativity ; after Ventura Salimheni.
The Purification of the Virgin ; after F. Barocci.
The Last Judgment ; after F. Vanni.
Apollo and the Muses; after Bal. Peruzzi; a frieze.
Christ before the Sanhedrim; inscribed, Ph. Thomas-
simis sc. et exc, Roma, 1649. (Probably his last plate.)
THOMASSIN, Simon, nephew of Philippe Tho-
massin, was bom 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 Paris in 1694, and republished at the Hague in
1723. We have also, among others, the following
independent prints by him :
Louis XIV.
Louis, Duke of Burgundy. 1698.
Marie Adelaide of Savoy, Duchess of Burgundy.
Paul Beauvillier, Duo de St. Aignan. 1695.
The Due de Maine.
Charles XII. of Sweden.
Pierre Corneille ; after Le Brun.
The Miraculous Draught of Fishes ; after Raphael.
The Transfiguration ; after the same.
St. Paul taken up into the third Heaven; after N.
Poussin.
Christ praying on the Mount ; after Le Brun.
St. Benedict ; after Ph. de Champagne.
Christ disputing with the Doctors ; after Lesueur.
St. Ambrose and the Etnperor Theodore; after Bon
Boullongne.
St. Scholastica ; after JauvenM.
He died in Paris in 1732.
THOME, LucA, a Sienese artist of the 14th cen-
tury, probably a pupil of Simone Martini, and the
companion of Barna and Lippo Memmi. His name
is the third on the register of the Compagnia di
S. Luca for 1356, when that guild was finally
established. He and Christoforo di Stefano re-
stored in 1357 a ' Madonna ' which had 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
Cappellucoi. 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 Siena. The date of Luca Thome's
death is uncertain. Works :
CastelloS. I „ , f Virgin .ind Child with St. Anne.
Quirico. 1 C'.rtosa.l ^f^g^ ^
Pisa. Academy. The Crucifixion. (1366.)
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 Mid
of the wood, on a section across the grain, into
France. He died at Bourg-la-Reine in 1843, and
Thompsou
PAINTERS AND ENGRAVERS.
Thomson
his widow was granted a pension by the French
government. Specimens of his work are to be
found in :
' L'Histoire de I'ancien et du nouveau Testament.' 1835.
' Fables de La Fontaine.' 1836.
Thierry's ' Oonqu^te de I'Angleterre.' 1841.
' Corinne.' 1841.
THOMPSON, Charles, an English engraver,
who practised in London early in the 19th century.
He engraved the illustrations for ' Mdes Althorp-
ianiB,' in 1822, and several plates for almanacs.
THOMPSON, Charles Thdestan, 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 the 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, Jambs, born 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 'WeUiugton ; after
Lawrence.
The Queen on Horseback ; after Sir F. Grant.
Prince Albert ; after Sir W. Boss.
The Bishop of London ; after G. Bichmond.
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 Durer,
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—1818.
Fairfax's Tasso.
Butler's ' Hudibras.' 1818.
' The Blind Beggar's Daughter of Bethnal Green.' 1832.
Gray's ' Elegy.' 1832.
Shakespeare. 1836.
' The Arabian Nights.' 1841.
' The Vicar of Wakefield ; ' after Mulready. 1843.
He made many of the engravings for Yarrell's
works on Natural History, and for many works
published in France.
THOMPSON, K. 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
Artists, from 1816 to 1857. Working strenuously
for the establishment of an Academy for Ireland,
he became one of the original members of the
Hibernian Academy in 1823. There is a portrait
by him in the Kensington Museum, and one of
Archbishop Troy in the Irish National Gallery.
Thompson ceased to exhibit 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.
THOMPSON, 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, where in 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 the
667
Thomson
A BIOGRAPHICAL DICTIONARY OF
Thornlull
outbreak of the Freuch 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, John, ' Thomson of Duddingst^n,'
a Scotch landscape painter, was born at Dailly,
Ayrshire, in 1778. His father was the Presbyterian
minister of Dailly, and he succeeded him in that
office in 1800. But Thomson had a great liking for
art, and his early eSorts 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 unwilling 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. Nat, Gallery. Bruce's Castle of Turnberry.
„ „ Landscape Composition.
„ „ Eavensheugh Castle.
„ „ Scene on the Clyde.
„ „ The Trossachs.
„ „ Aberlady Bay. 1822.
1, „ Trees on the bank of a stream.
London. „ Loch an Bilan. 1835.
„ S. Ken. Museum. Duddingston Loch (water-
colour).
THOMSON, Paton, 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 B. Jerningham. 1794.
' John Anderson my Jo ' ; after Z>. Allan. 1799.
Charles Kemble as Eomeo. 1819.
Charles Kemble as Vincentio. 1821.
Edmund Keau as Coriolauus. 1820.
_ THONERT, Mbdardus, engraver, born at Leip-
sio in 1754, was a pupil of Bause and Geyser.
He engraved historical plates and vignettes, some
after his own drawings, and others after those of
Grafi, .G. F. Schmidt, Oeser, &o. He died in 1812.
THONING, Christian Feiedrich, 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 efEeots of sunlight. He litho-
graphed two landscapes after Cuyp and Back-
huisen, and several views of Swiss scenery after his
own drawings. He died at Naples in 1873.
568
THORIGNY, FiLix, draughtsman, born at Caen
in 1824, was much employed on illustrations for
the following periodicals : le Monde Illustre; le
Magasin Pittoresque; le Music des families;
The Illusfrated London News ; le Calvados Pit-
toresque. 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
Nymphs in the Bath.
The Eetum of the Knight.
The Falconer.
The Lute Player.
The Sick Nun.
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,
G. 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 difficiilt 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 Academy.
Sir James Thomhill was honoured with the
particular patronage of George I., by wliom 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. Thomhill
has left a few slight etchings ; among them an
'Adam and Eve.'
THORNHILL, John, the only son of Sir James
Thomhill, painted landscapes and marine pieces.
He succeeded his father as Sergeant-Painter to
George II., but resigned the ofEce in 1757.
Thornthwaite
PAINTERS AND ENGBAVERS.
Thurston
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 Eriedrich, 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.
THOUENBYSER, 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
Erance, 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,
chieflj' Swiss, 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, "PJ. 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.
S. Francis Xavier ; after the same.
Ignatius Loyola ; after the same.
Tobit and the Angel ; after Titian.
Holy Family ; after Spraii^her.
The Elector Frederick of Brandenburg promising pro-
tection to French Huguenot Ref agees ; after Brand-
muller.
Laocoon ; after the antique group.
His son, of the same name, occasionally assisted
his father in his plates ; he was still living in 1736.
THOURON, Jacques, 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.
THtJFEL, (or Teupel,) Johann, was a native of
Saxony, and flourished at Wittenberg between 1640
and 1670. He is the supposed author of certain
portraits of Saxon princes and nobles, and of some
cuts for Martin Luther's Bible, printed at Witten-
berg by Hans Luf t in 1672. These latter are signed
with the initials J. T., or with a monogram ; a key
often accompanies the initials, hence he has been
called the " Master of the Picklock." In conjunc-
tion with Thiifel another engraver seems to have
worked who signs with a Clover Leaf, and is
thence called Kleemann.
THUILLIEB, PiEERE, 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 1867.
He died in Paris, November 19th, 1858. The
Piench provincial museums are rich in his land-
scapes.
THULDEN, (TuLDEN,) Thbodoor van, was
born at Hertogenbosoh, 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 Steenwyok, and in the
landscapes of Wildens and Mompers, and even
Snyders was indebted to hitu for assistance in his
hunting-pieces. He died about 1676. Works :
Antwerp. Museum. The Arch of Philip I.
„ „ Portrait of Benedict van
Thulden.
Berlin. „ Triumph of Galatea.
Brussels. „ Christ at the Column.
„ „ A Flemish "Wedding.
Copenhagen. „ Christ appearing to the Virgin.
^''''*' '^I'l^ilMartyrdomofSt.Adrian.
Paris. Louvre. Christ appearing to the Virgin.
Tournai. Museum. Portraits.
Vienna. Gallery. The Visitation.
„ „ The Virgin receiving the
homage of the Netherlands.
„ „ The Return of Peace.
„ „ Beconciliation 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 own
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 by himself. 1633.
The History of Ulysses, in fifty-eight plates ; from the
pictures painted byPj-imfrficCToatFontainebleau. 1640.
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 ; frmn Ms own designs.
THURSTON, John, born 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
569
Thys
A BIOGRAPHICAL DICTIONARY OF
Tibaldi
early in the present century. Among the works
illustrated by him were :
' Religious Emblems.' 1808.
' Shakespeare.' 1814.
Falconer's ' Shipwreck.' 1817.
Somerville's ' Rural Sports.' 1818.
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, Augustine. 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 iigures 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 landiscapes, 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 FKANgois, 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.
1 THYS, Peetee, the elder, (or Tyssens,) born at
1 Antwerp in 1616, was a pupil of Artus Deur-
! waerder, and a distinguished painter of the second
; rank. He practised portraiture and historical
.' painting ; in the former he founded his style upon
that of Van Dyck ; in his 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.
„ „ Dsedalus and Icarus.
„ „ The Virgin and St. William.
„ „ The Saviour appearing to St. John
of the Cross.
„ „ Two Portraits.
„ S. Jacques. Adoration of the Host. (Sh
nuisterpieee.)
Brussels. Museum. The Martyrdom of St. Benedict.
Copenhagen. Gallerij. The Marriage of St. Catharine.
Ghent. Museum. 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.
670
THYS, Pierre Joseph, born at Lierre in 1749,
was educated in the Academy at Antwerp. He
also studied under Koeck, 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, Alessandbo, born at Bologna in 1677,
was first a scholar of Prospero Fontana, and after-
wards of Bartolommeo Cesi. Having to fly from
Bologna on account of a quarrel, he retired to
Florence, where he studied for some time under
Domenico Oresti, 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 fine
picture of the ' Virgin, Mary Magdalene, and St.
John, weeping over the instruments of the Passion,'
in the church of S. Benedetto ; ' St. Catherine
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. 8. Petronio. Martyrdom of St. Barbara.
„ S. Salvaiore. The Nativity.
„ S. Vitale. The FUght into Egypt.
^ Finacoteca. Marriage of St. Catharine.
„ „ .Tohn the Baptist before Herod.
„ „ St. Bruno in the Desert.
Dresden. Gallery. Angelica and Medoro.
Florence. tWi^i. His own Portrait.
„ S. Marca. Legend of St. Antonio.
„ Pal. Pitti. Death of Abel.
Milan. Brera. Beheading of St. John.
Modena. Gallery. Crucifixion.
Munich. Pinacothek. Rinaldo in the Enchanted Wood.
Paris. Louvre. The Repentance of St. Joseph.
^'^''- ..Sr™, }^i^°-dSt- Francisof Assisi.
„ „ A number of Frescoes.
Vienna. Gallery. Christ bearing His Cross.
TIBALDI, Maria Feucb, painter, born at Rome
in 1707, became the wife of the painter Subleyraa
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 wark, ' The Last Supper,'
for Pope Benedict XIV. Her sisters, Terbsa and
Isabella, were also artists in the same genre.
TIBALDI, Domenico Pellegrino, engraver and
architect, born at Bologna in 1540, was the younger
bi-other of Pellegrino Tibaldi, and learnt the rudi-
ments of dlesign 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
Tibaldi
PAINTERS AND ENGRAVERS.
Tieffentlial
an architect and engraver he won a considerable
reputation. This is the list given by Bartsoh :
The Kepose in Egypt ; after his own design.
The Holy Trioity ; after Sammachini. 1570.
The Virgin with a Eose ; after Pamiiyiano.
St. Francis of Assist; 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 Girolamo Miinano,
The Penitent Magdalen ; after Titian.
The Triumph of Peace ; after his own design.
Portrait of Pope Gregory XIII. ; after Fassarotti. 1572.
View of the Grand Pouutain in the Palazzo Soaffieri at
Bologna. 1570.
View of a magnificent Palace, ornamented with columns
and statues, from a design by O. 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, P^LLEGRiNO, called Pellegrino da
Bologna, and Pellegrino Pellegrini, was born at
Bologna in 1527. He was a disciple of Bagua-
cavallo, and distinguished himself as an architect
no less than as a painter. In 1647, after copying
the works of Vasari at St. Michelein 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' Instituto, 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
' Decollation of St. John.' He was also employed
by Cardinal Carlo Borromeo, at Pavia, on the plans
for the Palazzo della Sapienza.
In 1586 Tibaldi was invited to Spain by Philip II.,
and employed in the Escurial, where he painted the
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 >■ ' 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 Ufiizi his own portrait.
TIBERIO, an Italian painter of the 16th century,
was a native of 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. Doraenico at Assisi, and Scenes from
the life of St. Francis in Santa Maria degli 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 Verscliuur
family, at Hoorn, in which the History of .Sneas
was treated with some originality. Tideman died
at Amsterdam in 1706.
TIDEMAND, Adolf, a Norwegian subject and
landscape painter, was born at Mandal on the ]4tli
August, 1814. He was a distinguished student of
the Copenhagen Academy, but completed his studies
at Dusseldorf, under Schadow 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 Cliristiania. 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 26th August, 1876.
Tidemand's colour is cold: his forte is the fidelity
with which he reproduces the manners of the
peasantry of his native country. The following
are some of his best works :
Grandmother's Bridal Ornaments.
The Haugians.
Sunday Afternoon.
\ The Baptism of our Lord.
1848.
Carlsruhe. Gallery.
Christiania. Nat. Mus.
„ Trefoldighe-
dens Church.
Diisseldorf. Gallery.
Hamburg. Museum.
Leipsic. Museum.
Stockholm. Nat. Mus.
Vienna.
Meeting of Haugians.
The Wolf Hunters.
Departure of Norwegian Emi-
grants.
The Story-Teller. 1857.
Ketum from a Bear Hunt.
TIDEY, Henky F., water-colour painter, was
born at Worthing, where his father was a school-
master. He first exhibited at the Royal Academy
in 1839. He was elected an associate of the
Institute of the Society of Painters in Water-
Colours in 1868, and a full member in 1859, and
exhibited much of his best work with them. He
died in 1872. He was very successful in painting
the portraits of children, but also exhibited
historical subjects and genre pictures somewhat of
the Watteau class. Among these we may name :
The Feast of Eoses {S.M. the Queen). 1859.
Dar Thule. 1861.
Christ Blessing little Children. 1863.
Saxon Captives at Eome. 1863.
Sardanapalus. 1870.
Flowers of the Forest. 1871.
TIEFFENTHAL, Hans, a painter of the Swabian
school, was born probably berween 1380 and 1390
at Schlettstadt, in Alsace. He is conjectured to
have painted for the church of the Carthusians at
Dijon, and, in 1418, he decorated the ' Kreuzkapelle
der Elenden ' near Basle, with paintings of birds,
animals, the heavenly bodies, and Scriptural scenes.
In 1433 he settled at Strasburg as a goldsmith, and
571
lielemans
A BIOGRAPHICAL DICTIONARY OF
Tilborch
entered the Senate. The date of his death is
unknown.
TIELBMANS, Martin PKANgois, 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 Fbiedrioh, born at Bruns-
vyick 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 Iflfland 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, was born at
Venice in 1696. He was a scholar of Gregorio
Lazzarini, and was also influenced by Gio. Battista
Piazzetta. He afterwards studied the works of
Paolo Veronese, and, though inferior in dignity
and in richness of colour to that great painter, he
approached him in transparency and in breadth of
chiaroscuro. Possessed of a lively invention, and an
uncommon facility of execution, he was admirably
qualified to decorate, and his large ceilings, and
other things of the same class, are his best per-
formances. His masterpiece in this genre is the
series of frescoes in the Palazzo Labia, at Venice,
dealing with the loves of Anthony and Cleopatra.
Other frescoes by him are in the Villa Stra,
between Venice and Padua; the Villa Valmarana,
near Vicenza ; the Tribunale and the Congre-
gazione di Caritk, at Milan ; the Capella CoUeone,
at Bergamo, and the Residential Palace at Wiirz-
burg. In 1769 Tiepolo was invited by Charles III.
to Spain, where he painted several frescoes in the
new palaces at Madrid, among them the ceiling, 'The
Glory of Spain,' in the Throne-room of the Royal
Palace, which were sufficiently admired to excite
jealousy in Mengs, the court painter, who was then
in the height of his celebrity. Tiepolo sometimes
inserted figures in the pictures of Caualetto.
Though chiefly known as a painter on walls, his
easel-pictures have great merit, especially in colour
and arrangement. He painted many altar-pieces
for the Venetian churches. Taken altogether he
may be considered the ablest of all those painters
whose genius has been purely scenic. He died at
Madrid, March 27th, 1770. The following are his
chief easel pictures :
Berlin. Museum, Martyrdom of S. Agatha; aad
three others.
Bordeaux. Museum. Eliezer and Eebekah.
London. ^at. Gal. ABishop in the act of Benediction.
„ „ S. Augustine with a group of
minor figures.
Madrid. Museum, The Conception.
„ „ Venus and Cupid.
Padua. S, Antonio. Martyrdom of St. Agatha.
„ Museum. St. Patricia tending a Sick Person.
Paris. Louvre. The Last Supper.
^' . ' ^ Cleopatra's Banquet.
Rouen. Museum. Card Party.
Turin. Pinacoteca. Triumph of Aurelian.
Venice. Ch. d. Fava. St. Anne and the Virgin.
672
Venice. SS. Apostoli. St. Lucia.
„ Academy. St. Joseph and the Child Jesus.
„ S. Alvise. Christ on His way to Calvary.
„ Gesuati. Virgin in Glory.
%armitf. } ^^"*°S (oil on canvas).
Vienna. Gallery. S. Catharine of Siena.
We have about fifty-six etchings by this master,
executed with taste, neatness, and spirit ; of which
the following are the most deserving of notice :
The Adoration of the Magi.
A set of twenty-four Fancy Subjects.
Ten Fancy Subjects of a smaller size.
TIEPOLO, Giovanni Domenico, the son of
Giovanni Battista Tiepolo, was born at Venice about
the year 1726. He was instructed by his father, and
painted some historical subjects in the churches at
Brescia. He accompanied Gio. Battista Tiepolo to
Spain, and assisted him in the palace at Madrid.
The younger Tiepolo has left several etchings, in
some of which he has imitated the style of Bene-
detto Castiglione. We may name the following:
The Flight of the Holy Family to Egypt. A set of
twenty-seven plates.
The Passion of Chri.st ; in fourteen plates.
A set of twenty-six Heads, in the style of Benedetto.
The Virgin appearing to St. Theresa ; after Gio. Bat.
Tiepolo.
St. Ambrose preaching to the People ; after the same.
A set of eight pieces of Satyrs, Turks, and Arabs.
G. D. Tiepolo died in Spain in 1804. His
younger brother, Lorenzo, painted and etched in
the style of his father, Gio. Battista.
TIERCE, Jean Bafi-iste, 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.
TIERENDORPF, Jbremib van, a Flemish
historical painter, who was at work about the year
1626. There is a 'Christ delivering the Keys to
the Apostle ' by him in the church of St. Peter at
Ypris, 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, Paul, Freiherk 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, Egidius, (or Gilles van,) the
elder, was born at Antwerp about the year 1570.
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 this theory.
Tilborch
PAINTERS AND ENGRAVERS.
Tinelli
Brussels.
Copenhagen. Gallery.
Dresden. " Gallery.
Petersburg. Hermitage.
The Hague. Museum.
Vienna. Lieehtenst. Gal.
TILBORCH, EGiDins, (or Gilles van,) the
younger, son of Egidius van Tilboroh the elder, was
born at Brussels in 1625. On his father's death he
became a scholar of Teniers, at the time when
Frangois 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
coluur. His death is supposed to have occurred in
1678. Works:
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 born 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 gallericB
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 Gaspar
Netscher. There are no particulars of him recorded
beyond his reception into the ' Schilds-conf rerie ' at
the Hague in 168,3. In the Dresden Gallery there
is a picture of a woman sewing, by him. It is
inscribed J. Tilius Pin., 1681. ' A Young Man
playing Bagpipes,' in the Vienna Gallery, is dated
1680.
TILL, Johann Kael von, a German engraver,
bom at Nuremberg in 1624. He was chiefly en-
gaged in engraving portraits and other plates for
books. An indifEerent etching of a bust of Fer-
dinand Talientsohger crowned by Minerva, is in-
scribed Joh. Carl van Till, 1644. He died in 1676.
TILLARD, Jean Baptistb, (Tilliabd,) 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, aiid 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-GouflBer's ' Voyage de
la Gr^ce.'
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 SibSrie.'
A series of Savoyards, with the title ' Mes Commission-
naires, mes Gens,' &c.
A Portrait of Pope Clement XIV. ; after S. Porta.
Hagar in the Desert ; after J. Vemet.
Bussian Shepherds ; after Le Prince.
TILLEMANS, Pietee, (Tilkans.) bom 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 Peter, called Sohenk, born
at Bremen about the year 1602, passed the early
■part of his life in Italy, where 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 times.
TIMAGORAS, a painter of Chalcis, known only
as having defeated Pancenus 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.' Bom 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, he 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, Louis Charles, painter, born in Paris
in 1821, was a pupil of Drolling, and entered the
Ecole des Beaux Arts in 1842. He painted chiefly
rehgious subjects, imitating the manner of the old
Italian masters. He exhibited frequently at the
Salon, from 1847 onwards. He is known not only
by his easel pictures, but by mural paintings in the
chapel of the Sorbonne, in S. Sulpice, and in the
church of Saint Etienne-du-Mont. He died in
Paris, November 24, 1880. His ' Agony in the
Garden,' and ' The Poet and the Muse,' are at pre-
sent in the Luxembourg.
TIMOMACHUS, a painter of Byzantium, living
in the time of Julius Csesar, who purchased two of
his pictures, an ' Ajax ' and a ' Medea,' and dedicated
them in the Temple of Venus Genetrix.
TIMOTEO DA URBINO. See Della Vite.
TINELLI, Cavaliere Tibebio, painter, was bom
at Venice in 1586. He studied under Giovanni
573
Tinghius
A BIOGRAPHICAL DICTIONARY OF
Tischbein
Contarini and Leandro Bassano, and painted por-
traits in liistorioal disguises, a proceeding whicli
won him much employment. His small pictures
of historical and mythological 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. He
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.
TINGHIUS, A. M., was an engraver who iiour-
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 MeitingJiius, 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 printBeller, and also
for a time in Paris. Anthony Walker, John Browne,
and W oollett 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
Anthony Highmore.
The Times of the Day.
Portrait of ' Maitre Chardin.'
„ Catherine Clire ; after Ellys.
„ George II. ; after Joseph Highmore.
„ Sir T. Parker.
„ John Wesley.
„ Flora ; after Bosalba Carriera.
TINTI, Camillo, born at Rome about the year
1738, was employed by Gavin Hamilton to engrave
some of the plates for his 'Schola Italica' ; among
these were the following :
The Marriage of St. Catherine ; after Farmigiano.
Meleager and Atalanta ; after PoUdoro da Carataggio.
Christ on the Mount of Olives ; after Lanfraiico.
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 Far-
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. Bartsch
('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 Louis, 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
574
later to the illustration of works on sculpture and
architecture. He was the author, jointly with
Chalet, Deveria, Maurin, Bedoute, and Victor Adam,
of ' La M6thode 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. lie
painted landscapes, historical pictures, and por-
traits ; and died in 1784.
TISCHBEIN, Johann Feiedrich August, 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 training in France and Italy through the
generosity of the Prince of Waldeck. On his re-
turn to Germany, his patron appointed 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 :
Amsterdam. Rijks Museum. A series of Portraits of
Princes of the House of
Orange.
Berlin. National Gallery. Lady playing the Lute.
Brunswick. Gallery, Pr. Charles of Brunswick.
Frankfort. Stadel Instil. Two Portraits.
Leipsic. Musemn. Portrait of Schiller.
TISCHBEIN, Johann Heinbich, the elder, his-
torical painter, born at Hayna in l722, 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 ateHer ;
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 modem 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 Leasing.
Cassel S. Michael's Ch. The Resurrection.
„ Lutheran Ch. The Transfiguration.
„ Catholic Ch. Ecce Homo ; and other pic-
tures.
The Triumph of Arminius after the Defeat of Varus.
Tischbein etched several plates from his own de-
signs, among them the following :
Cupid stung by a Bee complaining to Venus.
Nymphs Bathing.
Hercules and Omphale.
Menelaus and Paris.
Thetis and Achilles.
The Resurrection ; after a picture painted for the
church of St. Michael, Hamburg.
TISCHBEIN, Johann Heinrioh, the younger,
the nephew of Johann Heinrich the elder, was bora
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
lisclibein
PAINTERS AND ENGRAVERS.
lisi
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 Moore.
Bacchus and Ariadne ; after the sa^ne.
A Stag-hunt ; after Rutnart.
A Landscape, with Cattle ; after P. Potter.
A Mountainous Landscape ; after Renibrandt.
A Landscape with Animals ; after J. H. Boos.
He died at Cassel in 1808.
TISCHBEIN, JoHANN Heineich Wilhelm,
painter and engraver, was born at Haj'na in 1751.
After studying for a time with his uncle, Johann
Heinrioh Tisohbein, 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 Hngue 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-
cluding one of the Queen of Prussia ; in 1779 he
went as a pensioner of the Court of Hesee 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 Sohloss 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 three 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 Butin, where he was chiefly occu-
pied in painting portraits and heads of animals.
He died at Eutin in 1829. Among his chief works
are the following :
Goetz von Berlicbingen. 1781.
Suffer Little Children to come unto Me.
Kirche, Bremen.)
The Ilape of Cassandra.
The Parting of Hector and Andromache.
{St. Ansgarii
He has left 147 etchings, 81 of which are in illus-
tration of Homer.
TISCHBEIN, Kael Ludwig, painter, born at
Dessau in 1797, son and pupil of Johann Friedrioh
August Tisohbein, 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 Bticke-
burg, where he died in 1856.
TISCHLBR, Anton, a German engraver, who
flourished about the year 1760. He engraved some
of the plates for the collection of prints from
pictures in the cabinet of Count Briihl. He was
living in 1774.
TISI, Benvenuto, (Tisio,) commonly called
Garofalo, from the native village of his family,
Garofalo, in the district of Polesina, on the Po.
In allusion to this origin, a clove-pink (garofalo)
figured in his family arms, and he sometimes painted
one in the corner of his pictures. Tisi was born
at Ferrara in 1481, and received the first part of his
education under his uncle, Soriani, and Domenico
Panetti ; but he was afterwards apprenticed to
Boccaoci Boocaccino, at Cremona. Not satisfied
with the instruction of his master, he ran away to
Rome in 1499, and there studied under Baldini.
His father's illness recalled him to Ferrara, where
he was employed by the Duke, and for the churches.
He visited Bologna, where he came under the in-
fluence of Lorenzo Costa, and it is probable that
from 1510 to 1612 he was again in Rome, whence
the traces of Raphaelesque feeling in some of his
works. Various records show that from 1517 to
1560 he was established at Ferrara. The works of
Garofalo occasionally approach Raphael in expres-
sion, and are very correct in design. His colour is
warm, and his chiaroscuro vigorous. The churches
of Ferrara possess several of his larger works, both
in oil and in fresco; and his small pictures are
found in most of the finer collections of Europe.
He may be said to share the headship of the Fer-'
rarese school with Dosso Dossi. He became blind,
and died at Ferrara, September 6, 1559. Works :
Amsterdam
Museum.
Adoration of the Kings.
Berlin.
Museum.
S. Jerome.
"
The Ascension.
The Annunciation.
»j
j»
The Adoration of the Magi.
"
Bitto ; another version.
1,
The Entombment.
Bologna.
S. Salvatore.
S. Zacharias and Saints.
Dresden.
Gallery.
Virgin and Saints.
»
»
Virgin handing the Child Jesus
to S. Ceciha.
Mars and Venus.
7»
w
Nuptials of Bacchus and
Ariadne ; and three others.
Edinburgh.
Nat. Gallery.
Christ clearing the Temple.
»j
M
Figures in a Landscape.
Ferrara.
Cathedral.
Madonna and Saints.
„
SS. Peter and Paul.
^'
S. Domenico.
Finding of the Cross.
5>
»
Martyrdom of St. Peter.
S. Francesco.
The Nativity.
J)
„
Raising of Lazarus.
"
Christ in the Garden.
Pinacoteca.
Christ on the Mount of Olives.
ij
it
The Triumph of Eeligion.
7»
tt
Virgin in Adoration (ascribed
to VOrtolano).
»
»
S. Nicholas of Tolentino saying
Mass.
)>
„
Virgin enthroned with Saints.
Glasgow.
Gallery.
S. Catharine.
It
S. Barbara.
London.
Nat. Gallery.
Madonna and Saints.
ii
tt
The Vision of S. Augustine,
tt
The Holy Family.
a
»
The Agony of Christ.
Milan.
Brera.
The Crucifixion.
Morelli Coll.
His own portrait.
Modena.
Gallery.
Virgin with Angels and Saints.
»
t9
Portrait of a Young 'Womau
in Black.
Munich.
Pinakothek.
Pieti.
"
J,
Virgin and Child.
„
Virgin and Child with Saints.
Naples.
Museum.
The Deposition from the Cross.
Paris.
Louvre.
The Circumcision.
'
)»
Holy Family. (Two)
Sleep of the Child Jesus.
tt
Madonna.
Petersburg
Hermitaje.
Adoration of the Shepherds.
„
tt
A Holy Family.
it
it
Christ bearing the Cross.
The Entombment.
575
Tisoio
A BIOQKAPHIOAL DICTIONARY OF
Toeput
Rome,
Capitol.
Venice.
Vienna.
Fal. Qmrinale.
Pal. Borghese.
Pal. Gorsim.
Pal. Doria.
»
Pal. Sciarra.
Academy,
Gallery.
The Annunciation.
Marriage of S. Catharine.
Adoration of the Magi.
Augustus and the Sibyl.
The Entombment.
Raising of Lazarus.
Christ on the way to Calvary.
The Visitation.
The Nativity.
The Vestal Claudia.
Boar Hunt.
Virgin in Glory with Saints.
Madonna with the Lily.
TISOIO, Antonio 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 lias been suggested that he is identical
with Antonio da Cesa. Other works :
Belluno. Casa Pagani. Virgin and Child.
„ Conte Agosti. Three Fragments, each with an
Angel upon it.
TISSIER, Jean Baptistb Anqe, a French por-
trait and historical painter, _was born in Paris in
1814. He studied in the Ecole des Beaux Arts,
under AryScheflfer 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, AMiXii^ Anqelot, a French landscape
painter, who exhibited water-colour views at the
Salon between 1835—1845. He died in 1867.
TITIAN. See Vecelli.
TITO, PoMPiLlo, 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, born 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. He also studied hard 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
Bniraaus,' 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 Uffizi and in
the Torrigiani collection. Santi died at Florence,
July 23, 1603.
TI'TO, Tibeeio di, (Valeeio,) the son of Santi
di Tito, was born at Florence in 1573, 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.
576
TKADLIK, Fbanz, (Kadlik,) born 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 Miguel db, 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, ' The young St.
John,' which are copies, with variations, of the 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 of
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 Pjazza, Albertino.
TOCQUE, Lonis, (Todcqttet,) a painter, bom
in Paris in 1696, was first a scholar of Nicolas
Bertin, and afterwards of Hyacinth Rigaud. Tocqu6
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 he 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 Graffigny.
And fovr in the La Caze Col-
lection.
Versailles. Mus. Hist. Portrait of the Empress Eliza-
beth of Russia.
J, „ Portrait of the Poet Gresset.
And three others.
TOEPUT, Lodewyk, (Pozzo, Pozzo-Serbato,) was
born at Meclilin in 1550. According to Descanips,
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 at Trevigi, in the Venetian State,
where he was still living in 1604.
Tofanelli
PAINTERS AND ENGRAVERS.
Tomkins
TOFANELLIj Stkfano, painter, born at Lucca
in 1760, 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
drew for Volpato, Raphael's ' Parnassus,' a ' Sibyl
and two Prophets,' by Michelangelo, Guido Reni's
' Martyrdom,' Gaercino's ' Aurora ' and ' Day and
Night,' and a Landscape by Claude Lorraine ; for
Morghen, 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 in
1802 became Professor of Drawing atthe University
of S. Frediano. He died at Lucca early in 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
Tosnone still remain. He died young at Vicenza.
TOL, DoMlNicus VAN, was born at Bodegrave,
between 1C31 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 :
A-nsterdam. ^^^i^y^^JThe Mouse-trap.
„ „ Portrait of Hendriok Spiegel.
„ „ A Family Scene (copy after
Dou).
Copenhagen. Gallery. A Savant In his Study.
Dresden. Gallery, An Old Man eating a herring.
„ „ An Old Woman winding yarn.
Leyden. Museum. A Woman cooking pancakes.
Loudon. Bridgewat. Gat. An Old Man reading.
„ „ An Old Woman with a Book.
„ „ „ Woman caressing a Dog.
Petersburg. Hermitage. The Lace-maker.
„ „ The Bird's Nest.
TOLEDO, Juan de, a Spanish painter, was born
at Lorca, Murcia, in 1611. He was the 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 Alcald
de Henares. At some time in his life he served
in the army, and was commonly known as el
eapitan. He died in 1665.
TOLEDO, Juan db, 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 Capuchin Church at Toledo.
TOLENTINO, Francesco di, a painter of the
16th century, who worked in the style of Pintur-
ricchio. He was probably the 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
VOL. II. P P
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
Cavaloaselle attribute frescoes in the following
churches to Donienico: 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 Oderioo di Daniele
of Sacchieve. 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 Proveaano. A picture on panel of a
' Virgin and Child with Angels,' is also known as
his work, and is in the possession of Signer C,
Astori at Udine.
TOLOSANO. See Baron, Jean.
TOMASI, NiccoLA, called Colantonio deIi
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-piece by
him painted in 1371. It was originally a triptych,
having in its centre, ' St. Anthony, the Abbot,
enthroned between Saints.' Of this artist's birth or
death nothing is known.
TOMBE, La. See La Tombe, Nicolaas.
TOM!^, 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 Toni6.
TOME, LucA di. See ThomiS.
TOMKINS, Charles, painter and engraver, was
the eldest son of William Tomkins, A.R.A., and
brother of Peltro Tomkins. He was born 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,
jointly with Jukes, Cleveley'a ' 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, Pblteo William, an English en-
graver in the chalk and dotted manner, and a
distinguished scholar of Bartolozzi, was boni in
577
A BIOGRAPHICAL DICTIONAKY OF
Tomkins
London in 1760. Many of liis 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, Eoman, 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 Elizabeth 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
Seere.
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.R.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 Eoyal 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 1st, 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, Bar'J'Olommbo di. See Babtolommeo.
TOMMASO DA MODENA, or MUTINA. See
Eabisino.
TOMMASO DA SAN GIOVANNI. See Gdidi.
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 particularlyin the painting of 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 Vigilia.
TOMMEL. See Tjsmmel.
678
Toorenburgh
TOMOLIUS, LucA, an engraver, whose name
is affixed to a small portrait of F. Laelius Contesino,
coarsely executed with the grayer. 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 oflSce, 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 ; after Van Dyck.
Mary Davis, with a guitar.
Prince Eupert ; 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, hut not
meeting with encouragement, he returned to Eng-
land. The death of Cotes is said to have so deeply
afEected him, that he fell into a state of melancholia,
and destroyed himself in 1776.
TOMS, W. H., an English engraver, who flour-
ished about th^ 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 Fan Dyck.
Two Views of Greenwich Hospital; after Lawramon.
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.
TONDUZZI, GiULio, 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, Giuseppe, 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.
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
beginning of the 19th century. Specimens of his
work will be found in Church's ' Cabinet of Quad-
rupeds, ' and Bell's ' British Theatre.'
TOORENBURGH, Geekit, 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 of houses, among them that
of the Baron Van Esse, called the Old House of
Schefifelaar. Toorenburgh died at Nykerk about
Toorenvliet
PAINTERS AND ENGRAVERS.
Torelli
1785. In the Museum at the Hague there is a
view of the Araatel at Amsterdam by him.
TOORENVLIET, Abraham, son and pupil of
Jakob Toorenvliet, was bom in 1685. He painted
portraits, and died in 1735.
TOORENVLIET, Jakob, (Toebnvliet,) called
Jason, was bom at Leyden in 1641. He was in-
structed in design by his father, Abraham Tooeen-
VLiBT, 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
Eosendaal 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 x-eturned to Holland,
where his success was unequal to his hopes. He
was the first master of Prans Mieris. 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. RuDOLB', 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 drawitigs. 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
.Slsthetics at the Academy of Geneva. He died
at Geneva, June 18th, 1846.
TOPHAM, Francis William, an English subject
painter in water-colours, was bom at Leeds in 1808.
His early years were devoted to the practice of
engraving. Coming to London at the age of
twenty-one, he gradually devoted himself, self-
taught, to painting. He was elected an Associate
of the New Water-Colour Society in 1842, and a
member in 1843, but resigned in 1847, and was
elected an Associate of the Old Water-Colour Society
the same year, becoming a full member in 1848.
Here his works chiefly appeared, though he occa-
sionally exhibited at the Royal Academy, the British
Institution, and the Society of British Artists. His
early subjects were much taken from Wales and
Ireland, but in his later years, Spanish scenes
greatly attracted him, and he travelled much in
the Peninsula. He had at one time considerable
practice as a draughtsman : amongst the works he
illustrated were Mrs. S. C. Hall's ' Midsummer Eve,'
Moore's 'Melodies,' 'Burns' Poems,' and his own
'Angler's Souvenir,' for he was a disciple of the
gentle craft. He died at Cordova, during one of
his Spanish trips, in March 1877. Amongst his
pictures we may name :
Dublin. Nat. Gall. The Irish Mother.
Liverpool, Corp. Gall. Group of Children.
P P 2
Liverpool. Corp. Gall. Voices of the Sea. 1 .,
„ „ The Irish Pattern. J °"-
London. <S. Ken. Mus. Galway Peasants,
„ „ Irish Peasant Girl at the foot of a
Cross.
„ „ Peasants at a Fountain, Bas
PyrSnfes. 1858.
„ „ South "Weald Church, Ssser.
TOPINO-LEBRUN, FRANgois Jean Baptists,
born at Marseilles in 1769, is remembered for his
picture of the ' Death of Caius 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 at Paris in 1801, for
conspiring against the life of the first consul.
TORBIDO, Francesco, called II Moro, painter,
was bom in Verona about 1486. His sobriqicet
seems to have been suggested by his personal
appearance; for his portrait in red chalk, in the
Christ Church collection at Oxford, represents him
with thick lips and crisp hair. In his youth he
went to Venice to study under Giorgione, but
having quarrelled and come to blows with some
Venetian, he returned to Verona, where he gained
the friendship of Liberale, who made him his heir.
From his custom of imitating the manners of
various masters, notably Giorgione, Oariani, Palma,
and Giulio Romano, his easel pictures are often
wrongly ascribed. Crowe and Cavalcaselle point
out three conspicuous instances : the ' Flute Player '
in the Casa Maldura, Padua, ascribed to Pordenone;
the picture called ' General Gattamelata with his
Esquire,' in the Uffizi Gallery, and a ' Flute Player
crowned with laurel,' in the Paduan Gallery, both
ascribed to Giorgione, the latter with a forged
signature. The same writers point out that the
' Woman taken in Adultery,' at the Hermitage,
(No. 12), ascribed in the catalogue to an unknown
Venetian master, is by Torbido. The Munich
Pinakothek possesses a portrait by him, dated 1616.
A portrait of a gray-bearded man is in the Museum
of Naples; in the Verona Gallery there is a 'Virgin
enthroned ' by him, dated 1542 ; in the church of
St. Zeno, at Verona, and in the cathedral of Sal6,
there are altar-pieces. In 1534 Torbido painted
the frescoes of the 'Nativity,' 'Presentation,' and
'Assumption,' in the choir of the Duomo of
Verona, from cartoons by Giulio Romano. In 1535
he was at Friuli, where, in the choir of the church
of Rosazo, he left frescoes representing ' SS. Peter
and Paul,' the ' Virgin and Child,' the 'Transfigur-
ation,' ' Peter walking on the Sea,' the ' Call of SS.
James and Andrew,' and the symbols of the Evan-
gelists. The date of his death is imcertain, but
that he was alive in 1546 is proved by a letter of
Pietro Aretino's. Torbido was also an engraver.
A list of his plates is to be found in Passavant's
'Peintre Graveur.'
TORELLI, Cesaee, 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.
TORELLI, Felice, a painter of Verona, born
in 1670, was of the school of Giangioseffo dal
Sole, but had previously studied art under Santo
Pmnati. His altar-pieces are to be found at
I Rome, Turin, Milan, and other cities of Italy.
579
Torelli
A BIOGRAPHICAL DICTIONARY OF
Torriti
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 born in 1677,
and died in 1762.
TORELLI, 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 Angelico.
TOBELLI, GlACOMo, 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.
TORELLI, Stbfano, painter, was born at Bo-
logna in 1712. He studied first under his father,
Felice Torelli, and then under Francesco Soliraena.
Augustus III., 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 Royal 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,
TORENBURG. See Tookenbukgh.
TORENVLIET. See Toohenvliet.
TORESANI, Andrea, an Italian painter, and
native of Brescia, who flourished between 1727
and 1760, practising chiefly at Venice and
Milan.
TORNIOLI, Niccol6, was born 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, Babtolommeo, 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 Guido 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. Bartsoh describes the following
seven prints by Flaminio Torre :
Samson ; after Guido.
The Virgin accompanied by the Infant Jesus and St.
John ; from his own design ; dated 1639.
The Virgin with St. Jerome and St. Francis; 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.
Three Children bearing a Plateau, on which are two
vases and a glass ; signed G. R. T.
Pan conquered by Cupid ; after Ag. Carracci.
Flaminio Torre died at Modena in 1661.
TORREGIANI, Babtolommeo, 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 the 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 his art by preaching tenets subversive of
every moral principle. He was accused of being
a leader of the Rosicrucians, waB 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 1640.
Two pictures by him are mentioned in the White-
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 best 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 Mercenaries 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 Nori, 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
indifferent 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, (Turbiti,) 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
PAINTERS AND ENGRAVERS.
Tourui^reS
TORTEBAT, FRANgois, painter and engraver,
was born in Paris in 1616. He was a disciple o£
Simon Vouet, whose daughter he married, and be-
came a reputable painter of portraits. He was
received into the Academy in 1663, his reception
picture being a portrait of Vouet, now at Versailles.
There are twenty-iive 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 hira :
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 born at Seville about the beginning
of the 18th century, and died from an accident in
1766.
TORTOEEL, 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, GoDBFEOlD, a famous miniaturist, draughts-
man, engraver, and printer, was born at Bourges
about 1480. lie began life with the study of
philosopliy and letters, and was a professor in
various colleges. Determining to devote himself
to art, he visited Italy, and, on liis return to Paris,
set up a printing-press, and published a number of
translations from Greelc 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 Prance. A ' Caesar'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 G6rard. 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 Pamiigiano's injured frescoes in
S. Giovanni, and in the Delia Steocata at Parma,
in water-colour and engraving. The results were
published in forty-eight plates. Otlier fine plates
by Toschi were :
lo Spasimo ; after Raphael.
The Madonna Delia Tenda ; after the same.
The Descent from the Cross ; after Daniele da Volterra.
The Madonna della Scodella ; after Carreggw.
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, PiEE Francesco d' Jacopo 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 in S. Spirito.
TOSS, J. The name of this artist is aflBxed to a
spirited etching, representing the adoration of the
Shepherds ; after C. Hochfidd.
TOTO, Anthony, painter and architect, was an
Italian \iy birth, but came to England about 153J,
and was naturalized in 1643. Henry VIII. ap-
pointed him Serjeant-Painter. None of his works
are known.
TOUR, Maubioe Qubntin de la. See De la
Tour.
TOURFAUT, L^on Alj;xandrb, 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 liimself, No-
vember 16, 1883.
TOURNEMINE. See Vachbr de Tournemine.
TOURNEUX, Jean FRANgois, painter, was born
at Banthouzel (Nord) in 1809. He was a pupil of
Mar^chal, 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.
TODRNER. See Touenieres.
TOURNIER, Jban 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 Guide.
TOURNIERES, Robert, bora 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
^ 581
Tourny
A BIOGRAPHICAL DICTIONABY OF
Iraini
the portraits of some persons of distinction ; but
he also imitated the manner of Gerard Dou and
Godfrey Schalcken, and his li ttle 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 viforks
have been engraved. In 1750 Tournieres returned
to Caen, where he died in 1752. Among his pupils
were Huliot the younger, Eomagnesi, and Le Moine.
His ' Origin of Painting ' is in the Louvre, and his
portraits of the Maupertuis family in the Nantes
Museum.
TOUKNY, Joseph-Gabeiel, a water-colour
painter and engraver, who was born in Paris M)
1817, studied under Martinet, and became tapissiei'
at the Gobelins in 1836. He gained the ' prix de
Home ' 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 alio succesKful as a
portrait painter. He died at Montpellier in 1880.
TOUESEL, AuGUSTE, 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
1840-60, 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
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
Lymington, where he died towards the close of
the century.
TOUZB, 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, Charles, an English landscape and
cattle painter, born in the latter part of the 18th
century. His works were occasionally exhibited
at the Royal Academy and at the British Institution
between 1795 and 1828, after which he settled at
Liverpool for some years, and became Vice-President
of the Liverpool Academy in 1813. He is supposed
to have returned to London and to have died about
1850. There is a picture of Everton village by
him in the Liverpool Corporation Gallery.
TOWNE, Feanois, an English landscape painter,
born in 1740. He studied under W. Pars, and
was awarded a prize by the Society of Arts in
1759. His works first appeared at the Free
Society and in Spring Gardens, but he afterwards
exhibited at the Academy and at the British
Institution. He spent several years of his life
in Italy and Switzerland. He died in London in
1816.
TOWNLEY, Charles, an English painter and
mezzotint engraver, was born 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 WiUiam II., Catharine II., and Ziethen.
582
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 ; t^ter apictTire ascribed to the master.
Annibale Carracci ; after himself,
Domenichino ; the same.
Peter Paul Rubens ; the same.
Rembrandt ; the same.
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.
Agrippiua weeping over the Tomb of Germanicus ; after
Bulls fighting ; after Stuhbs.
And others yter Hoppner, Opie, and Dance.
TOWNSHEND, George, Marquis, amateur
etcher, had a great reputation for his humorous
sketches and caricatures, some of which he etched
himself. He was bom in 1724, and in 1767 became
Lord-Lieutenant of Ireland. It was during his terra
of office that many of his best drawings were made,
notably a clever caricature of the Duchess of
Queensberry. He died in 1807.
TEABALLESI, Francesco, a native of Florence,
flourished at Rome in the pontificate of Gregory
XIII. (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 the Doctors.' His brother Baetolom-
MBO was an assistant of Vasari.
TRABALLESI, Giulio, (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 Communion of St. Jerome ; after Agos. Carracci.
The Conversion of St. Paul ; after L. Carracci.
St. A16 and St. Petronlus kneeling before the Virgin ;
after Cavedone.
The Circumcision ; after Guide.
The Communion of St. Catharine ; after F. Brizzio.
Traballesi died in 1796.
TRAIES, William, an English painter, born at
Crediton in 1789. In his early years he was a
clerk in the Post OSice. He at length devoted
himself entirely to art, and gained a considerable
local reputation as the " Devonshire Claude." His
atmospheric effects are good, but his foliage is
heavy. He formed a close friendship with GAi-
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
PAINTERS AND ENGRAVERS.
Tr6molIidre
TRAMAZZINO, Fhanco, is noticed by Florent
le Comte as the engraver of a print, dated 1661,
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 1762 he was appointed
to a post at the Gobelins in succession to his
father-in-law, De Neumaison.
TRAMULLES, Fbanoisco, bom 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.
9> TRAMULLES, Manuel, bom 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.
TRANFURNARL See Tzanfdbnari.
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 15th
century, the contemporary of Wolgemut, in whose
manner he painted. His name occurs in the city
rate-books in 1477. His principal work, the decor-
ation of the cloisters of the Augustine Convent,
into which he introduced portraits of many famous
Nurembergers, is no longer in existence. But an
exiimple of his art is preserved in the University
Collection at Erlangen. It consists of a large
coloured drawing, the painter's name written upon
it by Diirer.
TRAUT, Wolfgang, an engraver on wood, was
a native of Nuremberg, but practised chiefly at
Frankfort a.M., where he settled in 1647. He
died in 1662. Of his forty-four fine and rare prints
the best are : ' The Scourging of Christ,' ' The
dead Christ with an Angel,' 'Head of Christ,' and
' A Head of the Virgin.'
TRAUTMANN, Johann Geoeq, painter, born at
Zweibriicken in 1713, studied at first with F. F.
Bellon at Zweibriicken, 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 fire-light efiects,
such as his ' Burning of Troy,' portraits in eastern
costume, and peasant gatherings. Examples of his
art are to be found in the Stadel 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 Peteb Tbadtmann, born in 1745,
painted in the style of his father. He died in 1792.
TRAUTMANN, Karl Friedrich, landscape
painter, born at Breslau in 1804, studied at the
Academy of Berlin. He worked for some time in
the duoliy 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 born
at Berlin in 1815. He studied at the Diisseldorf
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, bora 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.
TRAVlfeS, Charles Joseph, painter and litho-
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 for a time at the Eoole des Beaux Arts,
and under Heim. He made his dihut 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 little hunchback ' Mayeux,'
a still popular type. Other works were : ' Les
Fran9ais peints par eux-mlmes,' 'Les Rues de
Paris,' ' Le Miroir Grotesque.' He died in Paris,
August 13, 1869.
TRELLENKAMP, Wilhelm, historical painter,
was born at Sterkrade, near Ruhrort, in 1826. He
began hfe 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 Friedrich, 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 1862.
TREMOLLIERE, Pierre Charles, (Treimo-
LiiRES,) 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 H6tel de Soubise, and was engaged to prepare
583
Trench.
A BIOGRAPHICAL DICTIONARY OF
Treu
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. Tr6molliere
etolied a set of studies after Watteau, and had
commenced ' The Seven Worlss of Mercy,' from his
own designs, but only lived to finish two.
TRENCH, Henry, an Irish historical painter,
born towards the close of the 17th century. He
studied in Italy, and gained a medal at the Academy
of St. Luke. Settling in England in 1725, he died
young in London, in the following year.
TKENN, Eduard, a German landscape painter,
born at Saohsenhausen 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 his party by the natives.
TRENTO, Antonio da (Antonio Fantuzzi ;
Antoine Fantose), engraver, was born 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 three
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-
luigiano's atelier, carrying off a number of drawings,
engravings, and wood-cuts. Henceforth we hear
no more of him 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. There seems little doubt as
to the identity of the two, and Bartsch and others
base their opinion to that eflEect upon the agreement
of names and dates, and upon — (1) the strong re-
semblances in style observable between the Italian
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 ; (3) the partiality shown by the French artist
for subjects after Parmigiano. Zani, however, dis-
sents from this view, pointing out that Fantose
confined liimself 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 Seccafumi.
The Holy Family ; aftei- A. del Sarto.
The Martyrdom of St. Peter and St, Paul ; after Par-
miyiano.
The Tiburtine Sibyl showing the Virgin and the Infant
Christ to the Emperor Augustus ; aft&r the same.
Circe receiving the Companions of Ulysses; after the
same.
Psyche saluted by the People as a Divinity; after
Salviati,
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 :
Hercules ; after Prtmaticcio.
The Draught of Fishes ; after Raphael.
The Fight between the Horatii and the Ouriatii ; after
G. Romano.
Eegulus ; after the same.
584
TRESHAM, Hbnky, was born at Dublin about
1749. He received his first iijstruction 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 Home, 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
miglit 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, June 17, 1814.
TREU, Johann Nikolaus, (Tret,) was bom at
Bamberg in 1734. He studied science and paint-
ing under his father Marqnard 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 Wiirzburg
he painted portraits and pictures for churches. He
died at Wiirzburg in 1768.
TREU, Joseph Christoph, (Tkby,) 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
Pomraersfelden. 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, bom 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 the 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
Xreu
PAINTERS AND ENGRAVERS.
Triqueti
Lcyden. He sometimes marked his plates with
the initials M. T. with the date, and sometimes
with a monogram composed of those letters, thus,
]yj . He engraved moral and allegorical subjects,
to the number of about sixty in all. The following
are among the best :
The Judgment of Solomon. 1540.
The I'ive Wise Virgins. 1540.
History of the Prodigal Son ; twelve plates. 1541 — 1543.
Peasants Dancing ; twelve (?) plates. 1542.
Gentlefolks Dancing ; twelve plates. 1542.
The Surprise — Peasant finding his wife in the arms of
a Monk. 1540.
' La Polissanerie.' 1540.
Tlie 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 _^3/ . 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.]
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, GiBOLAMO DA. See Pennacchi.
TREVIGT, LoDOVico da. See ToEruT.
TREVIGLIO, Beknardino Zenalb 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.
TllEVISANI, 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-
niiano, Venice ; ' Tiie Dream of S. Theresa,' in San
Pietro in Oliveto, at Brescia ; and a Madonna, in the
Gallery at Madrid. He died about 1763.
"TREVISANI, Francbsoo 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, pe 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. Giovarmi 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 wilh 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, Parmigiano,
and other favourite p.iinters. He died at Rome,
July 30, 1746. His principal pictures are :
Cassel. Gallery. Diana and Endymiou.
„ „ Portrait of himself.
Dresden. „ A Holy Family.
Florence. VJi'i- Madonna.
„ „ ' Noli me Tangere.'
Paris. Louvre. Sleep of the Child Jesus.
Kome. Tal, Spada. Antony and Cleopatra.
And others at Brunswick,
Madrid, Munich, Stockholm,
and Vienna.
TREVISO, Dario da, was living in the 16th
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 liis birth and death are unknown.
TREVISO, Gieolamo da, bom of respectable
parents, was the brother of Lodovico Aviani, a
poet. He finished an altar-piece and frescoes for
a chapel of S. Niccolo, 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 Signer Fabrizio Pieribondi, at Lonigo.
In the Duomo of Treviso is an enthroned Virgin and
Child with SS. Sebastian and Roch, and two Angels,
dated 1487. In 1496 he painted a Madonna with
four Saints, in San Salvadore of Colalto. The Casa
Rinaldi, Treviso, has a ' Christ at the Column ' at-
tributed to him. The dates of his birth and death
are alike unknown. Other works :
Montebelluno. iS. Vigilio. Virgin with Saints.
Paese, near Treviso. Church. S t. Martin sharing his Cloak.
TREVISO, Girolamo da. See Pennacohi.
TREZEL, PiERRE-F^Lix, painter, was born 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. Phaedra.
Bordeaux. „ Hector and Andromache.
Versailles. „ Portrait of Lautrec.
TRICOMI, Bartolommbo, 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
as an excellent portrait painter.
TRIBRE, P., an obscure French engraver, who
flourished about the year 1780.
TRIMOLET, Anthf.lmr, painter, born at Lyons
in 1798, was a pupil of Revoi), 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.
TRIOSON. See Girodet-de-Rohssy-Teioson.
TRIQUETI, Henri de, painter and sculptor,
born 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
585
Tristan
A BIOGRAPHICAL DICTIONAEY OP
Troost
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
author ofa work on ' The Three Museums of London.'
He died at Windsor in 1874.
TEISTAN, Luis, a Spanish painter, born at a
village near Toledo in 1686, was a scholar of Do-
nienioo 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 he 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. _
TEIVA, Antonio, painter, was bom 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. Filssli 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 be 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 ; Fattl Tivger,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, GlULlo, an Italian painter, born 1613,
was a pupil of Gessi. He published a work on
' The Paradoxes of Perspective,' which gained for
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
some of the plates for the 'Teniers Gallery,' from
the copies by that master after pictures in the col-
lection of the Archduke Leopold. Tliey are slight
in execution, and the drawing is incorrect.
TROIJEN, RoMBOUT, (Troyen, Rontbouts,) van,
painter of the 17th century, was a native of Fries-
land. He painted landscapes with ruins, palaces,
and other build ngs in the Italian style. His pic-
tures bear some resemblance to those of Cuylenburg,
and, like the wor^s of that artist, have darkened
586
considerably since they were painted. He also
painted portraits ; for Suyderhoef engraved one
after him. He died at Amsterdam in 1650. There
are pictures by him in the Galleries of Brunswick
and Augsburg.
TROILI, GnsTAv Uno, 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 Heinbich, bom at Wintertliur
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, II. See Santo Rinaldi.
TROMETTA, Niccola, (or Nicoola da Pesaeo,)
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— E— , a French engraver, who
flourished from 1740 to about the year 1760. He
engraved after Noel Nicholas Coypel, and other
masters.
TRONO, Giuseppe, bom 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 Uke
capacity, and gained a reputation by his copies of
the great masters. He died in 1810.
TROOST, CoRNBLis, born at Amsterdam in 1697,
was a scholar of Arnold van Boonen. He painted
conversations, in which he was faithful to the
customs of the people of Holland, and so won the
appellation of the Dutch Watteau. He also distin-
guished himself as a portrait painter, being much
employed on groups for the halls of the different
companies in Amsterdam. He worked in pastel as
well as in oil. He died at Amsterdam in 1750.
Works :
Amsterdam. R. Museum. Two Portraits of himself.
„ „ Alexander the Great at the
Battle of the Grranicus.
„ „ The Anatomy Lesson.
„ „ Three Chiefs of the Surgeons'
Guild at Amsterdyn in 1731.
„ „ The Governors of the Asylum
called the ' Aalmoezenier-
sweeshuis.'
„ „ Portraits of Inspectors of the
Collegium Medicum, Amster-
dam. 1724.
„ „ Children playing with a
Monkey.
Rotterdam. Museum. L' AccouchSe.
The Hague. „ Nine Scenes from Dutch
Comedies.
„ „ The Meeting at the House of
Biberius. (Forming a series
of five pictures called the
'Nelri,' from the initial letters
of the Latin inscriptions on
the frames.)
Troost
PAINTERS AND ENGRAVERS.
Trouvain
The Hague. Museum. 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.
Saea, the daughter of Cornelius Troost, was born
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.
TROOST, WiLHBLMUS, portrait and landscape
painter, was born at Amsterdam in 1684. He was
a scholar of Johann Glauber, but went to Dtisseldorf
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, where he practised
for ten years at Haarlem, and afterwards settled at
Amsterdam. He occasionally painted portraits, but
chiefly devoted 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 Maeia van Nikkelen, was also a
painter ; she had been a scholar of Van der Mijn,
and excelled in fruit and flower-pieces.
TROOSTWIJK, WouTEB 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, GlEOLAMO, 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. Giacorao delle Penitenti, in competi-
tion with Romanelli. In the Copenhagen Gallery
there is a ' Penitent Magdalen ' by him.
TROSCHEL, Hans, a German engraver, born at
Nuremberg about 1592, was a disciple of Peter
Iselburg, but afterwards studied in Italy under
Francesco Villamena. His style, however, is in-
ferior to that of Villamena, and his plates, though
neat, are stifE 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
Licetus, Philosoph. He frequently marked his
plates with a cipher composed of an H and a T,
thus, J^. 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 Gastelli.
The Emperor Julian ; after II Pomerancio ; and the
Portrait of Louis XIV.
TROSCHEL, Petee 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 his
plates with the initials P. T. He was still living in
1661.
TROST, Andeeas, 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 j^ . He was living in 1695.
TROST, CoENELis. See Teoost.
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, Bishop of St. Asaph ; after the same. 1792.
TliOTTI, Giovanni Battis'J'A, Cavaliere, 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.faciehat
an°. apartu Virginis, 1694. 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. Abbondi, 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
' Pietk,' in the church of S. Giovanni Novo, at
Cremona, which bears the date 1607.
TROTTI, EucLiDE, 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. Sigismondo 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.
TROUVAIN, Antoine, a French engraver, born
at Montdidier in 1656. His plates al-e executed
entirelj' with the graver, which he handled with
great neatness and dexterity, and his prints pro-
£87
Troiiv6
A BIOGRAPHICAL DICTIONARY OF
Troya
duoe a very pleasing effect. He was a pupil of
G6iavd Kdelinck, 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 tesne, Painter and Engraver. 1698.
Eeu6 Antoine Houasse, Painter ; after Tortehat.
Jean Jouveuet, Painter ; after a picture by himself.
The Chauoine Claude da Moliaet ; after a drawing ly
Armande de Lorraine d'Haroourt, Abbesse de Soissons.
{His best plate.)
The Annunciation ; after Carlo Maratti.
Christ restoring Sight to the Bhnd ; after Ant. Coypel.
The Marriage of Marie de' Medici with Henry IV. , and
tlie Minority of Louis XIII.; after the pictures by
Rubens in the Louvre.
Silenus drunk; after Ant, Coypel.
TROUVB, Nicolas Edgene, painter, was born in
Paris in 1808. He was a pupil of Berlin and of
Picot, and entered the Jijcole des Beaux Arts in
1827. He exhibited landscapes and village scenes
at the Salon from 1836 onwards, and gained a medal
in 18i6. He died in 1886.
TROY, FRANgois de, painter, born at Toulouse in
1646, 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
Frangois 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, Montpellier, Orleans, 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 Tro.y, whom he
succeeded as painter to tlie municipality. It has
been asserted by Toulousain historians that he never
quitted his native town, but from a statement in the
' liistoire Gen^rale du Languedoc,' it appears that
he obtained permission from the States of the Pro-
vince, and a grant of monej', towards the establish-
ment of an Art Academy at Montpellier 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
Montpellier, 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 FKAN901S de, painter, the son of
Francois de Troy, was born in Paris in 1679. After
receiving the instruction of his father, until he had
588
made considerable progress in art, he competed
without success for the prix de Home, and his father
sent him to Italy at his owji cost. His stay was
prolonged by the Marquis de Villacerf, who procured
him a royal pension for four years. He reluctanlly
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-
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 appointed 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 to
France, when he died suddenly at Rome in 1752.
Of his easel pictures the following are in French
galleries :
Besanijon. Museum. Portrait of the Marquis de
Marignan ; and two other
portraits.
Dijon, „ Pilate washing his hands before
the People.
Montpsllier. „ Apollo and Diana slaying
Niobe's Children.
Nancy. „ Diana in the Bath.
Nismes. „ The Keaper ; 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 Gaze Coll. A Female Head with powdered
hair,
„ „ Portrait of a Man.
„ „ Portrait of an fehevin,
Eouen. Museum. Portrait of the DuehesSfe de la
Force.
TROY, Nicolas de, painter, was born at Toulouse
early in the 17th century, and studied in his native
town under Chalette. 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 iu his
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
PAINTERS AND ENGRAVERS.
Tscheruezow
TROYEN, EoMBODT van. See Tboijen.
TROYON, Constant, a prominent member of
the modem French landscape school, was born at
Sevres, in 1810. His father was employed in the
porcelain manufactory, and in his early years he
worked there himself; but he aimed at higher
things, and after a period of study under Riocreux,
he devoted himself to landscape and animal paint-
ing. At first one Poupart, a pupil of Bertin, and
member of David's school, had much influence on
his proceedings. One day, however, as Troyon was
sketching at St. Cloud, he fell in with Camille
Roqueplan, who introduced him to Theodore Rous-
seau, Camille Flers, Diaz, and Jules Dupr6. Thence-
forward Troyon was a romantique, and soon took
his place as one of the leaders of the movement.
His first appearance at the Salon was in 1833, when
he exhibited 'La Maison Colas, Sevres;' 'Fete at
S&vres ; ' and ' A Nook in the Park of St. Cloud.'
For several years his subjects were taken from the
country in the neighbourhood of Paris, and through-
out his life his brush was chiefly inspired by French
scenery. Trips to Belgium and Holland in the
latter part of his career exercised but little in-
fluence on his art. He won the usual honours at
the Salon and at the Universal Exhibition of 1855.
His reputation was not confined to his native
country. His works were quickly appreciated in
England and in the Netherlands ; he was elected
a member of the Amsterdam Academy in 1847,
and received the Cross of the Belgian Order of
Leopold in 1861. His industry was untiring. 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 endangered.
A few months before his death he lost his reason,
and his friends were compelled to place him under
restraint. Although he recovered liis senses his
general health never returned, and he died in Paris,
March 20, 1865. Troyon yields to few in the har-
mony which pervades his works, though this has in
some cases, owing to his love for cool tones, pro-
duced blackness in his colour. An English critic
(W. E. Henley) thus writes of his work: "His
drawing is loose and inexact ; and he composes not
as an inheritor of Claude but as a contemporary of
Rousseau. But he had the true pictorial sense ;
and, if his lines are often insignificant and ill-
balanced, his masses are perfectly proportioned, his
values are admirably graded, his tonality is fault-
less, his effect is absolute in completeness. His
method is the serene and large expression of great
craftsmanship ; and with the interest and the grace
of art, his colour unites the charm of individuality,
the richness and the potency of a natural force."
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:
View from the Pare de Neuilly.
Oxen going to Work.
Sheep in a Landscape.
Landscape at Sunset.
Cows at Pasture. 1851.
Forest Scene at Fontainebleau.
The Drinking-Place of La
Tongue.
Landscape, with Cattle drinking.
Cattle. 1852.
The Wateriog-plaoe
Oxen going to Labour. 1855.
The Return to the Farm. 1859.
Cows Drinking.
Amieus.
Bordeaux.
Havre.
Museum.
Leipsic.
Lille.
Moutpellier.
Nantes.
It
n
Paris.
Louvre.
Eouen.
Museum.
TROSO DA MONZA. See Monza.
TRUCHOT, , a French painter of laiidscapes
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 inconjunction with Guillaume Philippe
Benoist, from Joseph Highmore's designs, in illus-
tration of ' Pamela ' ; 'A Village Dance,' after
Teniers, and several plates for Boydell. He died
in London in 1764.
TRUFFIN, Philippe, (or Philippot,) one of the
best painters of the school of Tournai, 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 1501. 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' executed
by him 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 niagistrates. Truflin 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 Cannse,'
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,'
' Comwallis' 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.
TSCHAGGENY, Edmond J. B., painter, was born
at Brussels in 1818. He was a pupil of E. Ver-
boeokhoven, 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 Schtsedrin.
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 Schuwaloff, after Eotari ; his own
portrait ; and that of the actor Wolkow.
TSCHERNEZOW, Gregok 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
589
Tscheruingk
A BIOGRAPHICAL DICTIONAEY OF
Tura
brought away above five hundred drawings of
scenery, buildings, and costumes in these districts.
In 1838 the two brotliers explored tlie 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
1686.
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 seat 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
TDBACH, 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.
TQBlilRES, Philippe 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.
TDCCI, BiAGio 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 Maeia, 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 born at Brussels in 1805, of French parents.
He was a pupil of Gros, and in 1836 founded the
Art School of Moulins (Allier), 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.
690
TUER, Herbert, an English portrait painter of
the 17th century. He 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 rulatives. There are by hhn :
London. Nat. Portrait \ Sir Leoline Jenkins. {Painted at
Gallery, j Nimeguen.)
Oxford. Jesus College. Sir Leoline Jenkins. {Duplicate
of the first.)
TUILERIES, Bernard des. See Palisst.
TULDEN. See Thulden.
TULL, 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 Elliott. 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 Perugia, essendo
stato guarito da qiiesto beato huomo, F. Francesco
d' Assisi, di una grandissima apoplesia, sono
andato quest' anno MGGXIXal capitolo delle store
alia M. deli Angeli, et ho fato il presente suo
ritratto sopra di lui per divodone che io ho in
questo beato huomo.
TUNICA, Johann Christian Ludwio, painter,
born at Brunswick in October 1796. After com-
pleting bis 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
Heinrioh, for the ' Rittersaal ' at Hanover. His
son and pupil, Hermann, is well known in Bruns-
wick as a painter of battle-pieces and horses.
TUNNER, Joseph, painter, was born at Graz 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 Graz. His
' Crucifixion ' is in the church of S. Antonio at
Trieste. He died in 1877.
TUNNICBLLI, Jacopo, painter, born 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 his day.
He also painted a few oil pictures. He died in
1826.
TURA, (or TuRRA,) Cosimo, called CosmJi da
Ferrara, was born at Perrara about 1420, and be-
came a pupil of Galasso Galassi. He was to -the
school of Ferrara much what Mantegha waste that
of Padua, or Giov. Bellini to that of Venice. He
was in the service of the Dukes of Ferrara from
1451 until the close of his life, obtaining a per-
manent appointment at court in 1458. In 1457 he
produced some cartoons for tapestry. He painted
in a style characterized by vigour in design, by
lumpy, spasmodic forms, by sometimes violent
colours, and by a general harshness of effect. His
works are common enough. Several remain in the
churches and public edifices at Ferrara, and picture
galleries out of Italy are not deficient in them. It
Turbido
PAINTERS AND ENGRAVERS.
Turner
has been said, perhaps erroneously, that he was
much employed in illuminating missals. Between
1468 and 1471, Tura was employed by Duke Borso
of Bste, in decorating the Schifanoia palace, a
pleasure retreat of the Duke's in a retired part of
Perrara. On this he was associated with Francesco
Gossa. Their works, which were in fresco, have
now in great part disappeared, but those remaining
are of much value for their details of costume and
architecture. In 1471 he decorated the library of
the Picos of Mirandola, and the new chapel at Bel-
riguardo, the latter with paintings which have now
vanished ; in 1473 he painted the portraits of the
Duke Alfonzo and Beatrice d'Este as a present for
Lodovico Sforza (II Moro) of Milan; and in 1481
he executed a series of nude studies in oil for the
Duke's study. He also worked for private patrons,
but much of what he did for them disappeared.
His most important picture is the ' Madonna with
Saints,' at Berlin. Many of his works have been
assigned to Mantegna, Marco Zoppo, Lorenzo Costa,
and others. After a long life he died between
1494 and 1498, leaving large legacies, for some un-
explained reason, to the poor of Venice. Works :
Bergamo. LoehisCar-} . „• • j /~.i..ij i
vara Gall, f ^ ^"^S*" '"'^ ^Jhild ; tempera.
Berlin. Museum. Madonna and Saints.
Ferrara. Cathedral. St. George (on the organ doors).
„ „ The Annunciation.
„ „ The Nativity.
„ Cappuccini Gall. Christ praying in the Garden.
„ „ St. Jerome.
„ CostaUli Coll. Figure of Autumn.
London. Nat. Gallery. Christ placed in the Tomb.
„ „ Fnthroued Madonna with Angels.
„ „ St. Jerome in the Wilderness.
„ „ The Virgin, with a book.
Paris. Louvre. A Deposition.
„ „ tunette of the enthroned Ma-
donna in the National Gallery.
„ „ Man in a Religious Habit.
Venice. Correr Mus. A dead Christ on the lap of the
Virgin.
TURBIDO. See Tokbido.
TURCHI, Alessandro, called L'Orbbtto and
Alessandro Veronese, was born at Verona in
1682. He is said to have acquired the. name of
L'Orhetto, 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 one of 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
tlie 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 Luoina ; and a ' S.
Carlo Borroraeo,' 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. Museum. Venus, an allegory.
Madrid. „ A Penitent Magdalene.
„ „ Flight into Egypt.
Milan. Srera. Maidonna adored by a Pope.
Munich. Pinakuthek. Heroules and Oniphale.
„ „ Hercules Mad.
„ „ Salome.
Paris. Louvre. Samson and Delilah.
„ „ The Woman taken in Adultery.
„ ,, Death of Cleopatra.
FeteTshutg. Hermitage. Christ bearing the Cross.
„ „ Bacchus and Ariadne.
Verona. Museum. The Nativity ; and two others.
Vienna. Belvedere. The Entombment.
TURCO, Cesare, born at Ischitella, Naples, about
the year 1510, was first a d sciple of Giovaimi
Antonio d'Amato, but afterwards studied under
Andrea S'abbatini. He painted for the churches
and public buildings of Naples. An altar-piece, iji
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 Liotard.
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 alrter-
wards turned his attention to mezzotint, and aqua-
tint with a partial uae 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-lhree 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 National Gallery.)
Duke of Newcastle ; after the same,
James "Watt ; after the same.
Sir Robert Peel ; after the same.
Sir Walter Scott ; after Baehurn.
Lord Newton ; after the same.
Mme. Malibran as Desdemona ; after Decaisne.
The Cottage Girl ; after Gainsborough.
The Spanish Contrabandista ; after J. F. Lewis.
Rembrandt's Mill ; after Semlirandt.
Mecaenas's ViUa ; after Richard Wilson.
The Satyr and the Traveller ; after Jordaens.
The Choir of Westminster Abbey, daring the coronation
of George IV. ; after F. Nash. (Some of these were
pj'inted in colour.)
The Marlborough Family ; after Reynolds.
The Age of Innocence ; after the same.
The Little Fortune-Tellers ; after the same.
The Beggar ; after Given.
The Wreck ; after Turner.
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 ; Oakhampton 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 Cook ;
Falls of Clyde ; The Devil's Bridge ; Guardship at
theNore; Morpeth; London from Greenwich; Norham
Castle ; Inverary.
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 arid the Academy between 1782 and
1801. The subjects of his exhibited pictures were
mostly taken from London and the Thames. No-
thinar is known of him after 1801. He left a few
591
Turner
A BIOGRAPHICAL DICTIONARY OF
Turner
etcliings 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 arid 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, was born
April 23, 1776, at 26, Maiden Lane, Covent Garden.
His father, William Turner, was a, barber ; of his
mother, nee Mary Marshall, it has been asserted,
upon no grounds that can be verified, that she was
of gentle blood. Her sister was married to the
Rev. — Harpiir, curate of Islington, and grand-
father to that Mr. Henry Harpur who was one of
Turner's executors. It is believed that Mrs. Turner
died mad, and that she was identical with one Mary
Turner, admitted into Bethlehem Hospital in 1800,
and discharged uncured a few months later.
Turner began his career as a sort of infant prodigy
in his father's shop. His earliest known drawing
is one of Margate Church, made when he was nine
years old. Shortly afterwards he went to his first
school, at New Brentford, where he drew trees
and poultry while his school-fellows did his sums.
About this time, too, he began to make copies of
engravings, which were exposed for sale in the
barber's window. Tliese 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, perhaps 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
Adelphi, 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 architect, 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. Ruskin 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. Hardwick, water-colour draw-
ing from Dr. Monro, aud perhaps some hints as to
painting in oils from Sir Joshua Reynolds, in whose
house he studied for awhile." i Like other men of
those pre-photographic days, he spent much of his
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. Walker, the
engraver, to make drawings for his ' Copperplate
Magazine.' , This was the first of the long series of
engraved wvrks 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 as 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 North 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, aftei'wards Lord de
Tabley, and Mr. Lister Parker of Browsholme Hall.
After Turner's election to the R.A.-ship in 1802,
he practically ceased to make drawings for en-
gravers, and until the commencement of the ' South-
ern Coast,' fifteen years later, confined himself to a
heading for the Oxford Almanac and to a few draw-
ings for books. He marked too his sense 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 ourious 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 low birth, of
an unattractive person, of an ill-furnished mind,
he deliberately set himself to conquer fame by those
gifts of imagination, of perception, of manual
skill, that he also knew to he 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 aud Gaspar Pous-
sin, 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 Scotland, 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 began the 'Liber
Studiorum,' a confessed but completely illogical
stroke at Claude's ' Liber Veritatis.' This, accord-
ing to his own prospectus, was intended " as an
illustration of Landscape Composition, classed as
follows : Historical, Mountainous, 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 pro-
fessional engravers, to transfer them to coppCT by
a mixed process of etching and mezzotint/xhe
whole series forms the most satisfactory moDftinient
of Turner's genius. Forced into concentration in
his own despite, he creates with a certainty 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. Com-
mercially, the ' Liber ' was unsuccessful, as indeed
it was foredoomed to be by Turner's methods of
doing business. The publication dragged on inter-
mittently until 1819, when it was allowed finally
to drop. The original plan was for a hundred
Turner
PAINTERS AND ENGRAVERS.
Turner
plates, excluding the frontispiece. Of these seventy
were published, while of the remaining thirty, some
were finished, some were only etched, and a few
stopped short at sketches. Perhaps the most fault-
less work Turner ever did is to be found in the
etchings for these plates. The engravers employed
for the mezzotinting were Charles Turner, William
Say, Dunkarton, Clint, Easling, Lupton, Dawe, S.
W. Reynolds, W. Annis, and Hodgetts. The first
plate executed, however, ' A Bridge and Goats,' is
an aquatint, by P. 0. Lewis.
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 has lately (1887) been pulled down and re-
built. This remained his oificial address to the
end of his life, although Solus, or Sandyoombe,
Lodge, at Twickenham, is also given in some of the
catalogues. In the years between 1803 and 1815,
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 he 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
Bai», with Apollo and the Sibyl,' to the Academy.
Together with the ' Caligula's Palace and Bridge '
(1831), and ' Childe Harold's Pilgrimage' (1832),
it may be taken as the summing up of the impres-
sion left upon him by Italy. In 1826 Turner gave
up Sandycombe Lodge, and thenceforward spent
I more of his time in Queen Anne Street, with no
company but his father and Mrs. Danby, his ' house-
keeper' from 1801 to his death. His 'Southern
Coast' was the chief publishing enterprise with
which he was at this 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 published, 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 great-
est shock, perhaps, of his life. In this same year
the illustrated edition of Rogers's ' 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 the
last picture to the Academy in which his full power
was shown, namely, the 'Fighting T^m6raire
tugged to her last Berth.'
During the last ten years of his life, Turner's
/^powers failed gradually by losing their health.
It was not a case of diminution so much as of per-
version. His judgment as an artist disappeared,
and although he could still — he could perhaps even
more than ever — astonish by the splendour of his
VOL. II. Q Q
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. Mayall'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 oifers 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 picture 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 1861, however, she discovered
that he was living, under the name of Booth, in a
small house at Chelsea, and there, on her hints, he
was found by his cousin and executor, Mr. Harpur.
This was on December 18, 1851, and on the 19th
Turner died.
Turner's will turned out to be so confused a
document that its provisions were to a great extent
set aside. After years of litigation, in which a
large part of his wealth was made over to the^ .
lawyers, 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 Royal
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 following list is restricted to his more
notable pictures, in the order of their production :
1802. Dolbadern Castle. (Royal Academy; Diploma
picture.)
„ Kilchurn Castle.
(?) His own Portrait. {National Gallery.)
1803. Calais Pier. (DTational Gallery.)
„ The Holy Family. (Do.)
1805. The Shipwreck. (National Gallery.)
„ Storm at Sea. (Bridgwater House)
1806. The Goddess of Discord in the Garden of the
Hesperides. (National Gallery.)
1807. Sun rising in a Mist. (Do.)
1808. Death of Nelson. (Do.)
1809. Spithead : boat's crew recovering an anchor, (Do^
1811. Apollo killing the Python. (Do.)
1812. Snowstorm : Hannibal crossing the Alps. (Do.)
1813. A Frosty Morning. (Do)
1814. Dido and .£neas leaving Carthage for the Chase.
(Do.)
„ Apuleia in search of Apuleius. (Do.)
1815. Bligh Sand, Sheemess. (Do.)
„ Dido building Carthage. (Do.)
„ Crossing the Brook. (Do.)
1816. Temple of Jupiter, at Mgma,.
1817. Decline of Carthage.
1818. The Field of Waterloo. (National Gallery.)
1819. The Mouse; orange merchantman going to pieces
on the bar. (Do.)
Richmond Hill, on the Prince Regent's birthday.
(Do.)
1820. Rome from the Colosseum. (Do.)
1823. Bay of Baise, Apollo and the Sibyl. (Do.)
1826. Cologne ; evening. (John Naylor, Esq.)
1827. Now for the Painter! passengers going on
board.
„ Port Ruysdael (I.).
1828. The Birdcage. (National Gallery.)
503
Turner
A BIOGRAPHICAL DICTIONARY OF
Turner
1830.
1831.
1828. Dido building the Fleet. {National Gallery.)
„ Bast Oowes Castle, with the Begatta. {South
Kensington Museum.)
1829. Ulysses deriding Polyphemus. (National Gallery.)
„ Vision of Medea, (bo.)
„ The Loretto Necklace. (Do.)
Pilate washing his hands. (Do.)
Orvieto. (Do.)
Yessel in Distress off Yarmouth. (South Ken-
sington Museum.)
„ Caligula's Palace and Bridge. (National Gallery.)
1832. Childe Harold's Pilgrimage, Italy. (Do.)
(?) Vaa Tromp's barge entering the Texel. {Soane
1834.
1835.
1837.
1838.
1839.
1840.
(?)
1842.
1843.
1844.
»
1846.
Lake Avernus ; the Fates and the Golden Bough.
(National Gallery of Ireland.)
Mercury and Argus.
Apollo and Daphne. (National Gallery^
Phryne going to the Bath as Venus.
Ancient Italy.
Modern Italy.
Agrippina landing with the ashes of Germanicas.
(National Gallery.)
The 'Fighting T6m^raire,' tugged to her last
berth to be broken up. (Do.)
Ancient Home.
Modem Rome.
The Slave Ship. (Miss Hooper, Boston, U.S.)
Bacchus and Ariadne. (National Gallery.)
Venus and Adonis. ( W. Cuthhert Quilter, Esq.)
Peace — Burial of Sir David TVilkie. (National
Gallery.)
■War— The Exile and the Rock Limpet. (Do.)
Snow-storm : Steam-boat making Signals. (Do.)
Shade and Darkness : The Evening of the Deluge.
(Do.)
Light and Colour : The Morning after the Deluge.
(Do.)
Approach to Venice. (Do.)
The ' Sun of Venice,' going to Sea. (Do.)
Port Ruysdael (II.). (Do.)
Rain, Steam, and Speed; The Great Western
Railway. (Do.)
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 Gallery
has five hundred, framed and so arranged as to be
readily accessible, 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. Euskin. In the Pitz-
william Museum, Cambridge, there is a correspond-
ing series, also given by Mr. Euskin. The following
may also be mentioned :
London. S. Ken. Mus. Hornby Castle, Lanca.shire.
„ „ VTarkworth Castle, Northumber-
land.
„ „ Bay of Spezzia.
„ „ A Waterfall. '"™
„ ^, Interior, Tintern Abbey.
„ „ St. Alban's Abbey.
„ „ Landscape, with a tower of rock.
„ „ Corfe Castle, Dorsetshire.
„ „ Plymouth, from Turn Chapel.
„ „ Tivoli, Rome.
„ „ Brighthelmstone (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. About
1810.
lyand's End. (F. Craven, Esq.)
Llangollen. (Late C. F. H. BolcUw, Esq.)
Bridge over the Moselle. (G. E. Lees, Esq.)
The Rhine above Schaffhausen. (Do.)
594 ,
Swiss Pass, storm effect. (Jesse Haworth, Esq.)
Whitehaven. ( Walter Dunlop, Esq.)
St. Michael's Mount. (R. Leake, Esq.)
FoUy HiU. (Do.)
Lucerne. (Ahrdhani Raworth, Esq.)
Chain Bridge over the Tees. (Do.)
Warwick Castle. (Do.)
Lucerne. (J. Irvine Smith, Esq.)
Lancaster Sands. (Do.)
Lowestoft. (Rev. C. J. Sale.)
The red Bighi. (7. E. Taylor, Esq.)
The blue Eighi. (Do.)
Llanthony Abbey. (Do.)
Derwentwater. (Do.)
Dell in Wharfedale. (Do.)
Chryses on the Sea-shore. (R. G. L. Bevan, Esq.)
Village of Heysham, Lancashire. {John Rushin, Esq.)
Lake and Town of Geneva. (Do.)
Bggleston Abbey. (Do.)
The Splugen Pass. (Do.)
Farnley Hall, from above Otley. (Do.)
Farnley Avenue. (Do.)
The Crook of Lune. (Rev. W. McGregor.)
Knaresborough. (John Fortes White, Esq.)
City and Lake of Constance. (R. Brocklebank, Esq.)
Virginia Water. ( W. Leech, Esq.)
Rivaulx Abbey. (A. G. Kurtz, Esq.)
Dartmouth Cove. (Holhrook Gaskell, Esq.)
Dartmoor. (Do.)
Patterdale. (W. Agnew, Esq.)
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.)
Vale of Ashburnham. (Sir A. Acland^Hood, Bt.)
Norham Castle. (D. Thwaites, Esq.)
Carnarvon Castle. (Do.)
Bridge over the Usk. (Henry Faughan, Esq.)
Durham. (Do.)
FouthUl. (Sir Charles Tennant, Bt.)
Edinburgh. (Mrs. Bolckow.)
Castle of Chillon. (Miss Julia Swinbarne.)
Lake of Thnn. (Do.)
Bonneville, Savoy. (-Do.)
Marxburg, on the Rhine. (Do. )
Palace of Bieberich, on the Rhine. (Do.)
TancarviUe, on the Seine. (Do.)
Scarborough. (Sir Richard Wallace, Bt.)
Grouse Shooting. (Do.)
Woodcock Shooting. (Do.)
Landscape in Yorkshire. (Do.)
Cologne. (Ahel Buckley, Esq.)
Winchelsea, 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.)
The following list gives the chief artistic publi-'
cations for which Turner supplied the material :
'Britannia Depicta: a series of views engraved from
drawings by T. Heame and J. M. W. Turner.' (1806.)
' Views in Sussex : from drawings by J. M. W. T.' (1819.)
' Picturesque Tour of Italy.' (1820.)
' Picturesque Views on the Southern Coast of England,'
&o. (1826.)
' River Scenery : engraved from drawings by J. M. W.
T., and T. Girtin.' (1827.)
' Picturesque Views in England and Wales.' (1832.)
' Liber Fluviorum, or Rivers of France, sixty-one line
engravings from drawings by J. M. W. T.' (1843.)
'The Harbours of England, &c., with notes by John
Euskin.' (1856.)
BIBLIOGRAPHY.
W. Thorubury, 'life of J. M. W. Turner, R.A.'
(London, 1877.)
P. G. Hamerton, 'The Life of J. M. W. Turner, E.A.'
(London, 1879.)
W. Cosmo Monkhouse, ' Turner.' (London, 1882.)
J. Burnet, ' Turner and his Works.' (London, 1859.)
J. Dafforne, ' The Works of J. M. W. Turner.' (1877.)
Tujner
PAINTERS AND ENGRAVERS.
Tutilo
J. Ruskin, ' Modern Painters ; their superiority in the
art of landscape painting proved from the works of
modern artists, especially from those of J. M. W.
Turner.' (1844.)
J. Buskin, ' Notes on the Turner Gallery at Marlborough
House.' (London, 1857.)
'R. N. "Wornum, ' The Turner Gallery.' (London, 1859.)
H. Bodd, ' Catalogue of the Pictures painted by J. M.
W. Turner from 1807 to 1850, as exhibited in the
Boyal Academy, with his own maaner of describing
each picture.' (London, 1857.)
W. Cosmo Monkhouse, 'The Turner Gallery' (120
engravings with notices by W. 0. M.)
J. Buskin, ' Notes on his Drawings by the late J. M. W.
Turner.' (Ijjndon, 1878.)
J. Ruskin, ' Notes on his own handiwork, illustrative of
Turner.' (London, 1878.)
W. G. Bawlinson, ' Catalogue of the Liber Studiorum.'
(London, 1878.)
' Catalogue of the Liber Studiorum.' (Cambridge,
U.S.A., 1874.)
J. Pye and J. L. Roget, ' Notes on the Liber Studiorum.'
(London, 1879.)
Stopf ord A. Brooke, ' Notes on the Liber Studiorum.'
(London, 1885.)
J. Buskin, ' Catalogue of Drawings and Sketches by J.
M. W. Turner in the National Gallery.' (Orpington,
1881.) W. A.
TURNER, William, an English water-colour
landscape painter, was born at Blackbourton
(Oxen.) 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 other 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).
T DRONE, (TuBONi,) 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 Triniti ;
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 CRISSE, Lancelot THioDOKB,
CoMTE DE, painter and architectural draughtsman,
born in Paris in 1781, was the son of the Marquis
de Turpin de Criss^, the representative of an old
Angevin family, whom the troubles of the Revolu-
tion forced to fly from Prance. 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
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 tlie Bourbon restoration. In 1816 he became
, a member of the Institute, and in 1824 Inepector-
Q Q2
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 place in French galleries :
Angers. Museum. Syrinx pursued by Pan.
„ „ View of the Temple of Vesta at
Tivoli.
Lisieux. „ Study of Trees.
Marseilles. „ View at Boquebrune.
Nantes. „ Entry of the Austrian Emperor
into Venice.
TDRPIN, Pierre Jean FBANgois, 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
histor}'. Among those so illustrated may be named,
the travels of Humboldt and Bompland ; ' Les
Plantes de la Nouvelle CaMdonie ; ' ' Les loones,'
of M. DeoandoUe ; ' L'Iconographie V^getale ; '
' L'Atlas du Dictionnaire des Sciences Naturelles ; '
' La Flore M^dicale ; ' and Duhamel's treatise on
Fruit Trees. He died in Paris, May 2, 1840.
TURRITL See Tobeiti.
TUSCHER, Kabl Marcus, painter, etcher, and
architect, was born at Nuremberg in 1705. Wal-
pole says he was painter and architect, while Fiissli
calls him painter, copper-plate engraver, sculptor,
carver in wood, and gem engraver. He was the
natural son of a lacemaker, and was brought np 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 employed by Stosch at
Leghorn, to make drawings 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. NSrden 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. Prom 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, 6. 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, Babtolommeo, an engraver on wood,
to whom are ascribed some prints with this Gothic
monogram, ^. Bartsch, however, mentions
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,
595
Tweedie
A BIOGRAPHICAL DICTIONARY OF
Tzanfumari
poet, musician, and sculptor. He was a monk of
the Benedictine Order at Saint Gall, and died about
908.
TWEEDIE, 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, but 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 present (1888) Duke of
Devonshire hangs in the University of London.
TYBOUTS, WiLLEM, a famous Dutch glass-
painter, born at Haarlem about 1526. His best
known works are portraits of Philip II. and
. Elizabeth of Valois, painted for the church of St.
1 Ursula at Delft ; ' The Taking of Damietta,' for the
church of St. John 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
■yyhom he was working from 1538 to 1540.
TYN, Lambebt 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 with 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 in the church of
S. Etienne, in which town he 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 a Linne, architect to the King of Sweden.
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 Thys.
TYSSBNS, 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, PiETBB. See Thys.
TYTLER, Geoegb, 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.
TZANPURNARI, 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 suflering
poor, and, in the background, scenes illustrating the
life of the anchorite.
696
Ubaldini
PAINTEES AND ENGRAVEBS.
TTfFenbach
u.
UBALDINI, Pethuccio, 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, Pray Tomas de, a member of the short-
lived Academy of St. Barbara of Valencia. In
1764 he painted a picture of Judith, which was
famous for a time.
UBBLESQUI, (or UsiELESQni,) Albxandkb,
painter, called Alexandre, was born in Paris in
1649. He was a pupil of Charles Lebrun, and
completed his studies in Eome, 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
Court, became a member of the French Academy
in 1682, and Professor in 1695. He died in Paris,
April 21, 1718.
UBEETI, 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 Cosirno, for whom
he designed some tapestries, painted some historical
pictures, and was employed on decorative works
generally. At a late period iir his life he painted,
in fresco, the grotto of a fountain in the garden of
the Palazzo Pitti. Several of nis rare easel pictures
have passed into England and France. He died at
Florence, October 5, 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. Pazzi. Deposition from the Cross (?).
London. 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 Ufiizi. 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.
Juan the elder, about 1594 ; Juan the younger,
about 1660; Pedro died in 1714, and Juan Uoeda
Castro VEBDo, about 1623.
UCHTEEVELT. See Ochteevblt.
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, 1596, 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
Eubens. 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. Eubens 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
by David Teniers, Eegemorter, 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 Schleissheim. 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 oion desiyns.
Four Landscapes ; after Rubens. The &st impressions
are before the name of Kubens 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 Bait. da. See Martino
di Battista.
UFFENBAOH, Johann Friedbich von, a de-
signer, etcher, and art connoisseur, was born at
Frankfort k M. in 1687. He pubUshed, 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
bora at Frankfort a M. in 1570. He was instructed
597
Uggione
A BIOGRAPHICAL DICTIONARY OF
TTlivelli
by Hans Grimmer, and was himself the teacher of
Adam Elsheiraer. 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 for S. Croce, in Florence,
are now in the 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 NEBI 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 Ugolino da Siena
(q. v.).
UGOLINO DI Peete 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 ISdJf. In 1378 he was employed with other
artists on the decoration of the walls of the tribune
and choir behind the high altar of the same church.
UGRUMOFF, Gkegob Iwanowitsoh, 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.
UHLICK, , was an obscure German en-
graver, who resided at Leipsio. 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 Meritis. He died at
Amsterdam in 1831. His son Abkaham was a
painter and architect.
UIJTENBROUCK, 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, or from 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 (Utenbroeok, 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. Bartsch and
Weigel give a list of sixty-seven plates by Uijten-
brouck. Two other painters of the same name,
Jan and MatthAus Uutenbrouck, flourished at
the Hague about the middle of the 17th century.
UIL, J. DEN. See Den Uyl.
UITEWAAL, Joachim, (Uytenwael,Wttbwael,
&c.,) 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 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, and there
passed the rest of his life. He died after 1626.
He painted history in the style of Bartholomaus
Sprangher ; and cabinet pictures of more decided
merit. He also furnished designs for glass painters,
and carried on a trade in hemp. Among his best
pictures are :
Berlin. Gallery. Lot and his Daughters.
Brunswick. Museum. Feast of the Gods. 1600. (A
subject he often treated.)
Copenhagen. Gallery. The Preaching of John.
Dresden. „ Apollo and Minerva. 1590.
Madrid. „ Adoration of the Shepherds.
Munich. „ The Marriage of Feleus with
Thetis.
The Hague. Museum. Mars and Venus surprised by
Vulcan. 1600.
Vienna. Gallery. Adoration of the Shepherds.
1607.
„ „ Diana and Actseon.
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 bom at Priedriksborg 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 Mariboe, in Laland, in 1698.
Her daughter, Helena Christiana, was also an
artist.
ULENBURGH, (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 employed by Sir Peter
Lely to paint-in draperies and backgrounds. He
is supposed to have died in tliis 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 S.
Nunziata. He died in 1704.
TJllmaim
PAINTERS AND ENGRAVERS.
Unterberger
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. He died in 1884.
ULMER, JoHANN KoNEAD, an engraver, was born
at Beroldsheim, near Ansbaoh, in 1783. He studied
first underNaumann, then atthe Augsburg Academy,
and next under J. G. Muller at Stuttgart. In 1806
he went to Paris, where he worked twelve years for
the Musee Napoleon. In 1818 he returned to Ger-
many, and became professor of engraving in the
Stadel Institute, Frankfort. He committed suicide
in 1820. Among his best plates are :
The Madonna della Sedia ; after Raphael.
Madonna di San Sisto; after the same {completed iy
Piatti).
St. Cecilia; after Mignard.
The Burgomaster ; after Van der Heist.
Triumph of Religion ; after Zesueur.
The Duke of Buckingham ; after Van Dyclc,
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
designs.
ULRICH, Heineich, a German painter and en-
graver, was bom 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 bom 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
in chiaro-scuro. He also etched 230 plates of
biblical, historical, and mythological scenes and
landscapes. Among these there are :
Christ on the Mount of Olives.
Trains of Children and Nereids.
Two Duck-shooters lying in Wait.
Landscapes with Ruins.
Bacchanals and Infant Sports.
He died in 1680, or 1700. There was a younger
Jonas Umbach, 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 Comte de Charolais) in the year 1465.
It is now in the Copenhagen Library.
UNDERWOOD, Richard 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 Exhibition in Soho Square.
He died at Auteuil, near Paris, in 1836.
UNDERWOOD, Thomas, 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 by collectors of works of art.
He died in London in 1882.
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 Georo, a wood-engraver, was
born at Goos, near Pima, 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 technic of wood-en-
graving, and had much influence on the revival of
the art. He died in 1788.
UNGER, Johanna, was bom 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.
Cinderella's Sisters.
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 :
The Nativity ; after Schraudelph.
The Death of the Virgin ; after the same.
UNKER. See D'Unkee, Henning-Lutzow.
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 Brixen. On
the recommendation of Mengs he was commis-
sioned to decorate the Vatican Library with grot-
teschi and other painted ornament, and to work in
the Villa Borghese. He died at Rome in or about
1798. His works were mostly historical, but he also
599
Uaterberger
A BIOGRAPHICAL DICTIONARY OF
TTtrecht
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, Iqnaz, painter and engraver,
a 3'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 bambocciaii.
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 :
Koniggratz. Cathedral. Descent of the Holy Ghost.
Prague. Gallery. Bathsheba.
Vienna. Italian Ch. Madonna.
Unterberger scraped some mezzotints ; among
them the best were :
Hebe giving 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
1751 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 and 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.
UNZELMANN, Friedhioh Lddwig, wood-en-
graver, was born at Berlin in 1797. He studied
under Gubitz at the Berlin Academy, of w^hich 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.
URBANO DA VENEZIA, an obscure artist who
is said by Venetian writers of the 18th century to
have assisted Francesco Tacooni in painting the
organ shutters of St. Mark's, Venice.
URBANO, PiETEO, a native of Pistoia, was a
Bcholar of Michelangelo, and is mentioned by
Vasari as one of those who lived in Buonarroti's
house.
URBINA, UiEGO DE, was born at Madrid about
the middle of the 16th century, and was employed
in 1570, 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 1572 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 1524, 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
600
lives in the verse of Lope de Vega, who calls him
' Generoso Urbina,' and laments his death as his
royal patron's loss.
URBINO, Beamante da. See Lazzari.
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 Feancbsco 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, LtrcA 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, Tbrenzio da. See Terenzi.
URBINO, TiMOTEO DA. See Della Vitb.
URLAUB, Geoeq Karl, was bom 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
Gboeg Christian Uklaub, who was an historical
painter of Thungersheim in the 18th century, and
worked at Bamberg, Wtirzburg, &c.
UROOM. See Veoom.
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.
USTERI, JoHANN Maetin, 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 Sonnensohein. 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.
UTENBROEOK. See Uijtenbeouck.
UTENWAEL. See Uitewaal.
UTKIN, NiCOLAI IWANOWITSCH, (or OUTKIN,)
engraver and medallist, waB born at Twer in 1779.
He was a pupil of Klauber, and then studied in
London, and under Bervic in Paris. He afterwards
became director of the school of engraving at St.
Peitersburg. He died in 1 863. Among his plates
are:
iEneas saving Anchises ; after Domenichino.
Portrait of the Empress Catherine II. ; after Borowi-
kowsky.
Prince Kurakin ; after RegnauZt.
Field-Marshal Suwarrow ; after Schmidt.
Dr. Leighton.
S. Basil ; after Schebujeff.
UTRECHT, Adkiaen van, bom 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 the 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
Utrecht
PAINTERS AND ENGRAVERS.
Uytenwael
by him are in the Madrid Gallery, in one of wliich
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, Christoph 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 Eyck,
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 T CADENAS, Josi, 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
Royal Palace at Madrid.
UWINS, Thomas, painter, was born in Penton-
ville, 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 the 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, ho 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 (water-colour). 1810.
Children returning from School (do.). 1811.
Higgler's Boy going to Market (do.). 1812.
Girl decorating her Head with Hops (do.). 1813.
Hay Harvest (do.). (South Kensington Museum.)
Coronation of George IV. (do.). (Do.)
A series of six drawings for illustration (do.). (So.)
Italian teaching her Child the Tarantella (do.). (Do.)
The Saint Manufactory.
Le Ohapeau de Brigand. (Sheffield Gallery.)
Vintage in the Claret Vineyards. (Dundee Gallery.)
Sir Guyon, Verdant, and Acrasia (from Spenser).
(Nottingham Gallery.)
UYL. See Den Uijl.
UYTENBROECK. See Uijtenbroeck.
UYTENWAEL. See Uitewaal.
601
Vaart
A BIOGRAPHICAL DICTIOJTARY OF
Vaillant
V.
VAART. See Van dee Vaaet.
VACA, DE. See Cabeza.
VACAS. See Belmontb.
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 afterwards 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 peculiarly 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 after
the Resurrection.
Madrid. „ The Kesurrection.
„ „ Isaac and Rebekah.
., „ Death of St. Januarius.
And seven others.
Munich. „ The Scourging 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, Fkance.sco, (or Vicaro,) an Italian
painter and engraver, was born at Bologna aboul
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 1676.
VACCELLINI. See Vasoellini.
VACHER, Charles, was born in Westminster
in 1818. He went to Italy in 1839, studied in
Rome, and afterwards travelled in Sicily. 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 in the South Kensington Museum.
VACHER DB TOURNEMINE, Charles ^mile,
(or Vaoher de Touraine,) was born at Toulon in
1814. He was a pupil of Isabey, and at first painted
landscapes from the coast of Brittany, but in 1854
visited the East, and thenceforth chose Oriental
subjects. He became assistant conservator of the
602
Luxembourg, and in 1853 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 Cafe.
Salvator Rosa among the Robbers.
The Magi following the Star of Bethlehem.
African Hunt.
Elephants attacked by Lions.
Flamingoes and Ibis.
Pishing Birds.
VADDER. See Db Vaddbe.
VAFFLARD, Pierre Antoinb Augustin, a
French historical and portrait painter, was bom 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 the decorative paintings at
Versailles and in the Tuileries. Several of his pic-
tures are in French provincial galleries. He died
in 1835.
VAGA, P. DEL. See Buonaccoesi.
VAGNUCCI, Feanoesco, a painter of Assisi, who
practised about 1500. He painted in the style of
the qiiattrocentisti, and remains of his work are to
be found in his native town.
VAILLANT, Ande^, 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 Sohroeder ; after Jakob Vaillant.
Gabriel de la Gardie.
VAILLANT, Beenard, was born at Lille in
1625, 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 Rochefort ; £. Vaillant ad, vivum faciehat.
1671.
Admiral Sweers.
Busts of St. Peter and St. Paul ; from Ms own designs.
VAILLANT, Jacques, 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,
Vaillant
PAINTERS AND ENGRAVERS.
Valck
who, in 1672, employed him 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.
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, Walleeant, 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 Middelburg, 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 Mareohal de Grammont took him in
his train to Paris, where he painted the Queen, the
Queen mother, and the Duke of Orleans, and was
BO 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 him 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 design.)
His own Portrait. (Do.)
The Portrait of his Wife. (-Do.)
Desiderius Erasmus.
Johann Frobenius, the celebrated Printer of Basle.
Sir Anthony van Dyck.
Barent Graat, Painter.
A young Artist, probably his brother Andr6.
St. Barbara ; after Saphael.
Judith ; after Guido Reni,
The Holy Family ; after Titian.
The Temptation of St. Anthony ; after Cam. Procaocini.
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 Girard de Lairesse.
Vaillant executed a few excellent portraits with
the point, among them the following :
Archbishop Johann Philipp, Elector of Mainz.
The Duo de Grammont.
The Emperor Leopold I.
Charles Louis, Elector Palatine, and his Wife. (Two
plates.)
VAILLI^RB, , a French painter, of whose
career there is no record. In the Besanjon Museum
there are drawings by him of Montbarrey, Minister
of War under Louis XVI., and of the Princesse de
Montbarrey, afterwards Princesse de la TrSmoille.
VAINES, Maubiqb de, painter, was born at
Bar-le-Duo, 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.
VAJANI, Anna Maria, resided at Rome about
the year 1660, where she engraved some plates for
the ' Giustiniani Gallery.' She also painted flowers.
VAJANO, Alessandro, or Orazio, called 'II
Fiorentino,' was a native of Florence, and flourished
about the year 1628. He resided chiefly at Milan,
and acquired considerable reputation by pictures
for the churches of San Carlo and Sant' Antonio
Abate. There are also several of his works at
Genoa. Bartsch has described a print by him of
a ' Dead Christ 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, Dn. See Da Val.
VAL, Sebastiano de, (or D'Vl,) whose correct
name has been given, perhaps, by Zani, as Sebas-
tiano DE Valentini ijTiNBNSB, was an engraver,
and flourished about the middle of the 16th 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 D'. VL.
Prometheus chained, and tormented by the Vulture.
On a stone to the right is inscribed Sebastiano JT Val.
Ut. 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 Academy 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.
VALBEUN, Alexis Leon Lodis, painter, was
born in Paris in 1803. He was a pupil of Gosse
and of Gros. He entered the ficole des 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 Valboena.
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 partnership. 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 Valok visited England, where he was
employed for some time by David Loggan. Re-
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.
603
Valck
A BIOGRAPHICAL DICTIONARY OF
Valdor
Nell Gwya ■ after the same.
Kobert, Lord Brooke,
John, Duke of Lauderdale.
Burgomaster Koningh ; after Miereveldt,
MEZZOTINTS.
"William, 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 vpith Laurel.
Cupid asleep ; after Guido Beni.
A Woman ' qui cherohe ses puces.'
VALCK, Pbteii, painter, was born at Leeuwarden,
Friesland, in 1584, and formed his manner by
studying the works of Abraham Bloemaert. 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 the
style of Philipp Galle.
VALCKENBURG. See Valkbnbokoh.
VALCKERT, Wbrnee, or Warnaed, 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,
when 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 EmployS of the Mercer's Guild.
1622.
Four Male Regents of the Leper's Hospital. 1624.
Three Female Eegents 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.
The 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 band to the old Man;
dated 1612.
Fool and Girl.
Cupid and Satyrs.
VALDBLMIRA de LEON, Juan, was born at
Tafalla, in Navarre about 1630. He was instructed
in the rudiments of design by his father at Valla-
dolid, and after his death entered the school of
Francisco Rizi, at Madrid. He assisted that master
in several of his woi'ks, particularly in the Portu-
guese church at Toledo, in the Retire, 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
604
plates, which are to be found in ' Fiestas de Seville
a la oanonizacion 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, Juan de
Valdbs, distinguished himself as an engraver, par-
ticularly of religious subjects for books of devotion.
VALDES, Makia and Laura de, daughters of
the Spanish painter, Juan de Valdes-Leal, were
painters of some skill, especially of miniature
portraits. The former died a nun in the Cistercian
Convent at Seville, in 1730.
VALDES, Sebast. See Llanos t Valdbs.
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 ; and the ' Triumph of the
Cross,' in la Caridad, at Seville. 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 Carasquilla,
was also a painter. She died at Seville as late as
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.
Philip II. on the occasion of an Auto da Fe.
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 Liege ; 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 Wenzel 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
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 him, a ' Repose
of tlie Holy Family,' after Herm. Swanevelt ; and
a head of St. Ignatius Loyola, very highly finished.
After the death of his wife he returned to Lifege,.
and became an ecclesiastic. His death occurrei
after 1649.
ValSe
PAINTERS AND ENGRAVERS.
Valentin!
VALEE. See Vall^e.
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 G-allery contains two Madonnas ; in the
church of San Giovanni, Serravalle, is an Enthroned
Virgin and Child, dated 1502 ; 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 Chafeion.
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 Borne. On his return to Prance 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 Qldipus ; ' Philoctetes in the island of
Lemnos ; ' a ' View of the ancient city of Troezene ; '
the ' Vale of Temp^ ; ' 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 k I'usage des Artistes.'
VALBNS, (or Falens,) Charles 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 Basset,
but his real name would appear to have been
Jean de Boullongne, and his pseudonym of Valen-
tin to have been taken from the Christian name
of his father. He fotmd his 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 strong 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.' Through 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
Rome. 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. Academy. Card-players.
Berlin. Museum. Our Lord washing the Disciples'
Feet.
„ „ Bad Company.
Copenhagen „ Carnival Scene.
Dresden. Gallery. The Blind Musician.
Florence. UJizi. The Mote in the Eye.
„ „ The Guitar Player.
Madrid. Museum. Martyrdom of St. Lawrence.
Montpellier, „ Two Young Men Drawing.
Munich. Finakothek. Presentation in the Temple.
„ „ Queen Artemisia.
Paris. Louvre. The Judgment of Daniel.
„ „ The Judgment of Solomou.
„ „ The Tribute Money.
„ „ The Concert.
„ „ The Fortune-Teller.
„ „ An Inn.
Petersburg. Hermitage. Christ Expelling the Traders
from the Temple.
„ „ The Denial of St. Peter.
„ „ Soldiers Dicing.
„ „ A Concert.
Bome. Vatican. Martyrdom of SS. Processus
and Martinianus.
„ Fal. Sciarra. Death of John the Baptist.
„ Pal. Borghese. Joseph interpreting Dreams.
Rouen. Museum. Call of St. Matthew.
Stockholm. JVat. Gallery. St. John Baptist.
Turin. Gallery. Christ scourged.
Versailles. Palace. The Evangelists (four pictures).
Vienna. Gallery. Moses with the Tables of the
Law. O.J.D.
VALENTIN, A— Henri, painter and illustrator,
was born at AUarmont 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, Gottfried, a painter of Leipsic in
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
605
Valeriani
A BIOGRAPHICAL DICTIONARY OF
Valk
cause him to proceed to Italy for improveinent.
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 miniature portraits.
He died in 1820.
VALERIANI, Padre Giuseppe, according to
Baglione, was a native of Aquila, and flourished
at Rome in the pontificate of Clement VIII. (1592
— 1606). 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 ' Trans-
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.
VALE RIO, Theodore, a French painter,
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,
Italy, Hungary, the Herzegovina, and Montenegro.
His drawings of the people and scenery of South-
Bastern Europe made his reputation. On the out-
break of the Russo-Turkish war of 1853, he ac-
companied the Turkish army, and exhibited a series
of water-colour sketches then made by him at the
Paris Exhibition of 1855. Of a retiring dispo-
sition, his latter years were spent in a secluded
corner of Brittany. He died at Vichy in September,
1879.
VALERO, Cbist6bal, was born at Alboraya,
Valencia, early in the 18th century. He was at
first a student of philosophy, but later devoted him-
self to art under Evaristo Munoz, and afterwards
travelled to Rome, where he worked with Sebas-
tian Genoa. 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, Cakolinb de. A picture signed with
this name hangs 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.
VALESCART, (or Walescaet,) Jan, a painter
of Li^e, who flourished in the 17th century. He
studied first at Antwerp, and afterwards went to
Italy to complete his education in Guide's atelier.
He died at Liege in 1676.
VALESIO, Feancesco, (Valeqqio, 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 engraved some portraits
and views of towns, after Pietro Facini and other
606
masters. He carried on a business as an art dealer
in partnership with one Doino.
VALESIO, GiACOMO, (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 Cornelis 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, 1687. 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 Spanish 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 his ovm design.
Vpnus threatening Cupid ; do.
Venus chastising Cupid ; do.
Funeral of Gregory XV. (1623.)
VALET. See Vallbt.
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, Louis Antoinb, was born in Paris
in 1787. He was a pupil of Gu^rin and Ch&y.
The only picture he exhibited was a 'Cephalus and
Prooris,' 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
bom at Toulouse in 1862. He was a pupU of
M. Pannemaker and of the ^cole Nationale de
Dessin. He exhibited, at the Salon, wood-engrav-
ing after well-known painters, such as Baudry,
Carolus Duran, Merci6, Madrazo, and Gautherin ;
also after Michelangelo and Albrecht Durer. 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
Strasburg 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
PAINTERS AND ENGRAVERS.
Vallet
VALKENBORCH, Feederik 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 PIte ' (1694)
and a ' Fair ' (1595), in the Vienna Gallery ; and
of landscapes 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
Nuremberg, where Sandrart says he met him in
1622. At that date he would be about ninety-two.
In addition to landscapes at Brunswick and Prank-
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 Bank.
VALKENBORCH, Maeten van, brother of
Lucas van Valkenborch, was born at Mechlin in
1642 (some say 1533), was enrolled in the Mechlin
Guild in 1559, went to Antwerp in 1565, and in
1566 accompanied his brother to Liege and Aix.
At a later period he settled at Frankfort. He died
after 1602. He painted landscapes, portraits, aiid
genre subjects. There is a 'Kermesse' by him in
the Vienna Gallery; a 'Tower of Babel,' at Dres-
den ; several landscapes in the Amhraser Collection
at Vienna, and other pictures at Frankfort (private
collections) and Gotha.
VALKENBORCH, Maeten 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 Prederik van
Valkenborch's 'Village FSte,' by Marten the
younger, is preserved in the Vienna Gallery.
VALKENBORCH, Theodook, Diek, or Gillis
VAN, was bom 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 was
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 capita], 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 lie died
in 1725. Works :
Brunswick.
Frankfort.
Gallery. Defeat of Sennacherib.
Stlidel Inst. Study of Dead Game.
VALKBRT (Valkee, &c.). See Van den
Valckeet.
VALLAYBR-COSTER, Anne, a painter 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.
VALLBE, 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 Sustrls, Sprangher, and others ; also
plates after antique medals, architectural subjects,
portraits, &c.
VALLBE, Etienne, or Stefano, de la. See
De la Vall:^b.
VALL:6b, Simon, (or ValjSe,) 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, Painter to the King ; after Fras. de Troy.
Jean Fran9ois Savary, Curate of S. Menehoult ; after
the same.
The Transfiguration ; after Maphael.
St. John in the Wilderness ; after the same.
The Flight into Egypt ; after Carlo Maratti.
The Kesurreotion of Lazarus ; after Girolamo Muziano.
The Finding of Moses ; after Francesco Homanelli.
Christ bearing His Cross ; after Andrea Sacchi.
The Death of the Virgin ; after Caravaggio.
The Sacrifice of Abraham ; after Ant. Coypel.
Christ blessing Little Children ; after P. J. Cazes.
The Descent of the Holy Ghost ; after the same.
VALLENBDRGH. See Valkenboech.
VALLES, Josef and Juan, 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, GuiLLAUMB, (or Valet,) a French
engraver, was born in Paris in 1633. His father,
also an engi'aver, died when Vallet was but three
years old, and his mother placed him under Daret
at an early age. 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 Emanuel, Dute of Savoy.
Louis, Duke of Mantua.
Alessandro Algardi, Sculptor.
Andrea Sacchi, Painter ; after Carlo Maratti.
607
Vallet
A BIOGRAPHICAL DICTIONABY OP
Van de Pass
The Bust of Comeille, crowned by Melpomene and
Thalia; after Paillet.
Olympia Maldachini, Koma, 1657.
The Nativity ; after Raphael.
The Holy Family ; after the same,
Melchizedeck bringing presents to Abraham ; after the
same.
The Last Supper ; after the same.
The Holy Family ; after Guido Reni.
The Holy Family ; after Alhani. From the picture in
the Louvre, called ' La Laveuse.*
A Eepoee in Egypt ; after Carlo Maratti.
The Virgin, with the Infant Christ and St. John ; after
Ann. Carracci.
The Annunciation ; after Caurtois.
The Eesurrection ; after N. Loir.
St. John the Baptist before Herod ; after Le Brun.
The Adoration of the Magi ; after Foussin.
The Assumption of the Virgin ; after J. Miel.
The Holy Family ; after Jacques Stella.
The Crucifixion ; after the same.
Vallet'e son, Jerome, who became a member of the
Academy in 1702, engraved sixteen plates from the
baa-reliefs of ' The Pillars of Theodosius in Con-
stantinople,' after drawings by Gentile Bellini.
VALLET, PiEEKE, designer and engraver, was
bom at Orleans about the year 1575. He bore the
title of ' Brodeur ordinaire du Eoi ' to Henry IV. of
Prance, and was living in 1656. He is noted by
Dumesnil as the engraver of the one hundred and
twenty-four prints in ' Les Aventures amoureuses
de Th^agdne et CharicMe,' published in 1613 ; of a
Plan of the City of Paris, after Prangois 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 Prance
et de Navare. Dedi^ a la Eeyne,' 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. Patoure, and Qabkiello
GiovANB, or Gabriel lb Jedne, 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 engraver, flourished about the year 1760.
He etched, for his amusement, several small land-
scapes and other subjects, after Boucher. There
was also a Cavaliere Antonio Valloky, an Italian,
who practised thirty years earlier.
VALLOT, Philippe Joseph, engraver, bom at
Vienna in 1796, of French parents, was a pupil of
Ortemann. He engraved a few plates after Gros
and Vernet, among them 'Napoleon visiting the
Field of Bylau,' '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-colours, and several lithographs, at the Salon,
from 1824 onwards. He died in Paris, May 4, 1866.
VALOIS, Jean PEANgois, a Dutch painter, was
born at Paramaribo in 1778. He was the pupil of his
father, an obscure painter. He lived at the Hague
608
for many years, and gave lessons in drawing. He
died at the Hague, December 7, 1853. Works:
Amsterdam. R. Museum. View of a Town.
Eotterdam. Museum. A Farmyard.
VALPUESTA, Pedbo de, 'El licenciado,' a
Spanish painter, was bom at Osma, in Old Castile,
in 1614. He was a disciple of Eugenic Caxes, at
Madrid, and, according to Palomino, the most suc-
cessful follower of his 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 those 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.
VAN. For names beginning with this prefix
separably, if not followed by de, den, or der, see
under the names themselves.
VANASSEN, BENEDicxns 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, E.A. 1810.
Emblematic Devices in forty-eight plates. 1810.
A Sacrifice to Pomona and Ceres.
VANDAEL. See Dabl, van.
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 Hendkik, 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 Professor 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
Beenhard born at Eotterdam in 1804, was chiefly
known as a painter of church interiors.
VAN DE PASS, Crispin, the elder, (Van de
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 bun to Paris,
where he taught drawing in the academy of M.
Pluvinel, riding-master to Louis XIIL, on which
occasion either he or his son Crispin the younger
(see below) published in 1629 the celebrated set of
sixty prints, entitled ' Instruction du Eoi en I'exer-
cise de monter a, 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. Prom Paris
he came to England, at what date is not certain ;
but as none of his EngUsh prints are dated later
than 1635, it is probable that he quitted this country
about that year. He published a drawing-book in
Van de Pass
PAINTERS AND ENGRAVERS.
Van de Pass
1643 at Amsterdam, in Italian, French, and Dutch,
entitled ' Delia Luce del dipingere e disegnare,' in
the preface to which he mentions his intimacy with
the most celebrated masters of the time. Freminet,
Rubens, A. Bloemart, P. Moreelze, 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
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 sufficient 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 ' Heroologia
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 :
POETEAITS.
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 Ku£f.
Anne of Denmark, his consort.
Henry, Prince of Wales.
Charles, his brother, afterwards Charles I.
Frederick, Count Palatine of the Bhine.
Princess Elizabeth, his wife.
Sir Philip Sidney.
The Earl of Essex, on horseback.
Thomas Percy, the conspirator.
Henry IV., King of France.
Marie de' Mediois, his Queen.
Philip II., King of Spain.
Christian IV. of Denmark.
Heinrioh Friedrich, Prince 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 Famese II.
' Speculum illustrium feminarum.' A set of fourteen
Portraits of Women, with a frontispiece.
Adam and Eve ; after a design In/ himself.
Susannah and the Elders ; ditto.
Three small circular plates, Faith, Hope, and Charity ;
ditto.
Cleopatra ; ditto.
Hercules strangling Antaeus ; 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.
The Four Evangelists, in four plates; after Gortzius
Geldorp.
The Angels appearing to the Shepherds ; after A. Bloe-
maert.
The Crucifixion ; afur Jod. de Winghe.
The Judgment of Paris ; after C. Van den Broeck.
The Siege of Troy ; after the same.
A set of four Landscapes, with figures ; after J. Brueghel.
VOL. II. B R
VAN DE PASS, CRISPI^f, 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 j'ounger 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 Roy 1659. G- 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 Passeus,
jun.^g. et sculps.
Johannes Angelius Werdenhagen ; C. de Passe Jilius, fee.
1600.
Pope Paul V. ; Crispinus Passaeus senior inv. et exc,
junior scnlp. 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, Magdalbna, who was born at
Utrecht about 1583, was the daughter of the elder
Crispin van de Pass, and learned 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 the style of Count Goudt,
and also engraved a few portraits. She sometimes
used the cipher j^ . Among others, we have the
following prints by her.
Her own Portrait (bust).
Catherine, Duchess of Buckingham, with u. feather in
her hand.
The Wise and the Foolish Virgins ; after Elsheimer.
The Four Seasons ; after Crispin Van de Pass, senior.
Cephalus and Procris.
Salmacis and Hermaphroditus. 1623.
Latona changing the Lycian Peasants into Frogs.
Alpheus and Arethusa. 1623.
A pair of Landscapes ; after Poelandt 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
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 bride of
Charles I.
Another portrait of the same lady.
General Edward Cecil, son of the Earl of Exeter.
George Villiers, Duke of Buckingham. Two portraits,
one dated 1617, the other 1620.
609
Van de Pass
A BIOGEAPHICAL DICTIONARY OF
Van de Velde
Launcelot Andrews, Bishop of Ely. 1618.
"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 Ealeigh.
John King, Bishop of London.
Sir Thomas Smith, Ambassador to Russia.
"William, Earl of Pembroke ; after Van Somer.
Richard, Earl of Dorset.
Archbishop Abbot, with a View of Lambeth.
Robert 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 Libervmi
Large Head of Christian IV. of Denmark.
Sir Thomas Overbury.
Captain John Smith.
Four whole length Portraits of Dukes of Burgundy —
John the Intrepid. Philip the Bold, Philip the Good,
and Charles the Rash ; etchings.
The Holy 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 Copenhagen, probably "with his uncle Simon.
All that is known about him is that he engraved a
portrait of Frederick III. of Denmark ; an ' Ecoe
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 Utrecht about the year 1590, and was also in-
structed by his father. 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 bis 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
Regis Augustaque ipsius prolis.
James I. with Henry, Prince of "Wales. After 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 and Lenox ; a very care-
ful plate, inscribed Anno 1625. insculptum Guliel.
JPasseo Londinum.
Christian IV. of Denmark and Frederick of Holstein,
in a group.
George Chapman, the poet.
Sir John Haywood, W. Pass f.
Sir Henry Rich ; very fine.
Darcy "Wentworth. 1624.
The King and Queen of Bohemia, with four of their
children, inscribed Will Pass fecit, ad vivuvi Jiyura-
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 Madrid about the middle of the 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
610
subjects, one of which bore his signature and the
date 1659.
VAN DE VELDE, Adeiaen, paintgr, the son of
"Willem Van de Velde the 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
figure under Philips Wouwerman. He painted
genre and battle-pieces with success, but especially
excelled in landscapes with animals, and was much
employed by contemporary painters to insert figures
in their pictures. Among those whom he thus
assisted were Hobbema, Van der Heyden, Hakkert,
Wynants, Verboom, and Mouoheron. 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 1
Antwerp.
Berlin.
Cassel.
Dresden.
Gallery.
Dulwich. „
Edinburgh. JTat. Gal.
Hague.
»»
London,
Jfat. Gal.
The Ferry.
The Hut.
Landscape.
The Artist and his Family in the
Country.
The Hunt.
Landscape with Cattle.
Landscape with Figures and
Cattle.
"Woody Landscape with Figures
and Cattle (signed and dated
1668).
Pasturing Cows [signed and
dated 1658).
River Landscape.
Coast of Scheveningen.
Two Landscapes.
And four otho'S.
Cows and Sheep in a "Wood.
Landscape with Figures, Cattle,
and Herdsmen.
Cattle.
Dutch Beach.
The Farm Cottage.
The Ford.
Frost Scene.
Forest Scene.
Landscape and Cattle.
A Bay Horse with a Cow, a
Goat, and Sheep.
Landscape with a Hunting
Party.
A "Woody Landscape with
Animals.
Landscape with Cattle under
Trees.
The Coast at Scheveningen.
Herdsmen with Cattle.
An Idyllic Landscape with
Figures.
And three others.
The Prince of Orange and his
suite driving at Scheveningen.
The Shepherd's Family.
Frozen Canal with people
Skating.
Three Landscapes with Cattle.
The Herd.
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
Buckingham Pal.
Munich.
Paris.
Pinacothek.
Louvre.
Petersburg. Hermitage.
Vienna.
Van de Velde
PAINTERS AND ENGRAVERS.
Van de Velde
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 they were father and son. Nothing, however,
has come to light in confirmation of this hypothesis.
The known facts of his life are very scanty. We
find him 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 he
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
painting. He was also an etcher. Works :
Amsterdam. Rijks \ Belling the Cat. (A Satire on
Museum, i the relii/ious differences of
1618-19.)
„ „ Spanish Troops evacuating Bois-
le-Duc. 1629.
„ „ Winter Pastimes.
„ „ Dutch Landscape.
A Dutch Fortress hy a Canal.
Cavah^ Skirmish.
Two Skirmishes.
Skirmish with Bandits. 1624.
A Company at Dinner. 1614.
Landscape with Animals.
Winter Landscape.
Skating Fartj 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 with 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 db 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 he 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. Bertin at Poperinghe has a 'Last
Supper ' by him, and •Descamps speaks of a ' St.
Martin ' in the church of that saint at Ypres, but
this picture has now disappeared.
VAN DE VELDE, Pieter (Champaigne). See
De Kbmpeneee, 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
RB 2
Berlin.
Museum
Brnnswick.
J,
Dresden.
Gallery.
Glasgow.
j>
Hague.
Museum
Hamburg.
Kunsthalle
n
Munich.
J,
Pinacothek.
Kotterdam.
Museum.
Vienna.
Gallery
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 1676.
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 Viieger. After gaining a certain reputa-
tion in Holland he went with his father to London ;
and in 1674 Charles II. granted him 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 Church, 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 lai-ger 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 black-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 Shut {very fine).
„ „ The Y, before Amsterdam.
„ „ A Calm.
„ „ A Harbour.
„ „ Near the Coast [veryjlne).
„ „ A Storm {and four others).
„ The Beach.
„ Two Pictures.
Gallery. Sea-piece. 1653.
„ Coast Scene.
„ Vessels at Sea.
„ A Calm.
„ A Brisk Gale.
Edinburgh. JVat. Gallery. A Naval Engagement.
„ Fishing-boats in a Calm.
Gallery. Sea-piece with Fishing-boats,
&c.
„ The Evening Gun.
„ Sea-piece with Men-of-war
saluting.
„ The approaching Squall.
611
Berlin.
Dresden.
Dulwich.
Glasgow.
Van de Velde
A BIOQRAPHIGAL DICTIONARY OF
Van den Bossche
Hague. Museum. A Calm.
I;ille. „ A Calm Sea.
London. Brtdgewater\A. Dutch Packet in stormy
House. / weather (very fine and import-
ant).
„ „ A View on the Texel.
„ „ A Calm.
„ „ Entrance to the Bril.
„ „ The RLsing of the Gale.
„ „ Surrender of the 'Eoyal Prince.'
„ Nat. Gallery. A Calm at Sea.
„ „ A Fresh Gale at Sea.
„ „ Shipping in a Calm. 1657.
„ „ Coast Scene — a Calm. 1661.
„ „ Shipping off the Coast.
„ „ Coast of Scheveningen ifhe
f^ures are hy Adrlaen Van
de Velde).
„ „ A Calm at Sea.
„ „ A Light Breeze.
„ „ A Gale.
„ „ Searpiece.
„ „ River Scene.
Shipping.
„ „ Dutch Ships of War salntmg.
„ „ A Storm at Sea. "W. Yandee
Velde Londio. 1673.
,, Hertford House. The Morning Gun (a very large
picture).
Munich. Gallery. Two Pictures.
Paris. Louvre. A Marine piece.
His son, Cornelius Van de Velde, practised in
London at the beginning of the 18th century as a
copyist, and reproduced several of his father's
works.
VAN DEN AVEELEN, (or Avelen,) Jan, a
Dutch engraver, viras 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, Jakobhs Evebabdus, a Dutch
historical painter, born at Rotterdam in 1802, was
first instructed by his father, Gysbeetcs 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 Schaffelaar, Claudius
Civilus. He died at the Hague, July 20, 1861.
VAN DEN BERG, Mathias, 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.
Balkema says he died at Alkmaar in 1687; Brulliot,
following Descamps, that he died at Ypres in 1647 ;
and Zani places his death in 1685.
VAN DEN BERGEN, Thiebry 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 London in 1673, where
he painted for some time, but he died in his native
country about 1689. He sometimes signed his
name Berghen, as in a landscape in the Louvre,
where there is also one signed D. V. Bergen, with
the date 1688. The Berlin Museum, the galleries
of Vienna and Dresden, the Amsterdam Gallery,
612
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.
VANDBNBERGHE, Charles Auquste, painter,
the son of Augustinus Van den Berghe, was bom
at Beauvais, April 13, 1798. He entered the i^cole
des Beaux Arts, Paris, in 1817, and was the pupil
of Girodet, Gros, and Gudrin. He exhibited at
the Salon from 1822 to 1853, winning a medal and
the Legion of Honour. His subjects were various,
but portraits predominated. The Ministry of the
Interior, Paris, has a ' Holy Family' by him. He
died in Paris, December 17, 1853.
VAN DEN BERGHE, AaausTiNus, 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
Daine at Bmges.)
St. Sebastian ; after Suvee. (In the Bruges Hospital.)
VAN DEN BERGHE, PibteR, was u. 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 17tli 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, Gaspar, 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, Lodewyk, a flower painter
mentioned by Van Mander, who was active early
in the 16th century.
VAN DEN BOSSCHE, Balthasab, (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
PAINTERS AND ENGRAVERS.
Van den Eeckhout
VAN DEN BOSSCHE, Domenicus, painter, was
born at Graniinont in 1808. He painted portraits
and history, and became a professor at the Ghent
Academy. He died at Ghent in 1860.
VAN DEN BRANDEN, Jan, painter, was born
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, Barbaea, the daughter of
Crispin van den Broeck, was bom at Antwerp in
1560, and was taught drawing by her father.
From the style of her engraving it is thought she
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, and signed B.jilia sc.
Samson and Delilah ; Gfispin. inv. ; B. fecit.
The Last Judgment ; Barbara j^lia Orispini sc. ; S,
Hand. exc.
Mandonia prostrating herself before Scipio; Barbara
fee.
Venus and Adonis; B.fU.fec.
VAN DEN BROECK, Crispin, (or Ceispiaen,) 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 1555 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 Gallery. 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 :
CQPPEErPLATBS,
The Creation; a series of seven plates, with Iiatin
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 Instru-
ments of the Passion are introduced.
woopcnTS,
The Annunciation {circular).
The Visitation ((?o.).
The Adoration qf 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 Heem 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 Sohwerin Gallery.
He died at Amsterdam in 1708.
VAN DEN BROECK, Vbit. See Uijtenbrouck.
VAN DEN DUCK, Daniel, (or Van den Dyck,)
was born, according to BruUiot, 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 Ldcbbtia, a daughter of Nicolas Renier
Mabuse, 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 Dyck in. et
fecit.
* The Virgin and Child ; SV. Dyck in etfecf
St. Catharine ; D. V. Dyck I.
The Deification of iEneas.
* A Bacchanalian sceue ; Silequs drunk at table, sup-
ported by a, Bacchante; Dani'. Van den Dyck
fe<f.
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, Geebeand, (or Van
den Eckhodt,) 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 Eeckhout took to painting large pictures,
which are greatly inferior to his small works. He
died at Amsterdam in 1674. Other works :
Amsterdam. H. Mm.
Brunswick. Gallery.
The TVoman taken in Adultery.
Huntsman Besting.
Sophonisba taking the Poison.
Portrait of an old Man.
And five others.
The Circumcision.
Simeon in the Temple.
Portrait of Dapper, the Dutch
Historian. 1669.
Soldiers gambling.
(?) Christ blessing the Children.
(Formerly in the Suermondt
Collection, and looked upon as
a masterpiece by liembrandt
himself.)
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.
Schleissheim. „ 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.
613
Cassel. „
Dresden. „
Frankfort. Stddellnst.
London. Stafford So.
„ S/'at. Gallery.
Luton House.
Munich. Pinakothek.
Paris. Ifluwe.
Pommersfeld. Gallery. The
Van dea Hecke
A BIOGRAPHICAL DICTIONARY OF
Van den Wijngaerde
VAN DEN HECKE, Johan, born at Quare-
monde, near Gudenarde, about 1625, was a painter
of 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 him.
VAN DEN HECKEN, Abeaham, a painter of
the Dutch school, bom at Antwerp. In 1635 he
was at Amsterdam, and there m'arried the sister
of the painter Gerard Lundens. From 1636 to
1656 he worked alternately at the Hague and at
Amsterdam. He painted interiors, peasant as-
semblies, and portraits. The Amsterdam Museum
has a signed example of his work.
VAN DEN HEUVELE, Antonie, (called Don
Antonio,) u scholar of Gaspar de Crayer, was
born 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
Kaspak 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 his 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 inordinary.
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, Fbedeeik Hendrie, a Dutch
engraver, was bora 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
1715. We have, among others, the following
portraits by him :
James II.
AYilliam III. on Horseback. 1692. | Mary II.
"William and Mary Enthroned.
Thomas Sutton, founder of the Ohaiter-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 Knollis, V.D.M. | John Hopkins, Poet.
Sir Henry Morgan, Governor of Jamaica.
Joseph Moxon, Mathematician.
John Taylor, Mathematician.
AViUiam "Winstanley, Biographer.
VAN DEN KERCKHOVE, Joseph, was born 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
614
in founding an academy, of which he 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 KERKHOVB, Fhedbbik, the son of
Jan van den Kerkhove, a living Belgian painter,
showed an extraordinary bent towards art from
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 QUEBOORN, Ckispin, (or Van
QuEBOEEN,) a Dutch engraver, was born 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 ' Academic 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. 1825.
Charles I. 1626.
William I., Prince of Orange ; after Vtsscher.
Mary, daughter of Charles I., consort of the Prince of
Orange.
Friedrich "Wilhelm, Elector of Brandenburg, and his
Consort Luise of Orange ; after Sonthorst.
Count Heinrich Math, von Thurn-Valsassina ; /ram his
own design.
Friedrich V., Elector Palatine.
Elizabeth, daughter of James I., hiis confiort.
Juliana, Princess of Hesse.
Frederick Henry, Prince of Nassau. 1630.
VAN DEN RIETHOORN, Jan, (or Rithookn,)
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 born 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 MachteldBas, 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
Van den Wijngaerde
PAINTERS AND ENGRAVERS.
Van der Banck
number of topographical drawings of London and
its neighbourhood, Rome, and various cities of the
Netheriands, 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, Erans, 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
Rubens and others, which possess great merit,
though the drawing is frequently incorrect. Among
them are the following :
Samson kiUing the Lion ; after Euiens.
Christ appearing to Mary Magdalene ; after the same.
The Nuptials of Peleus and Thetis ; after the same.
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 Callat.
The Keturn from Egypt ; after J. Thomas.
Flemish Peasants regaling at the Door of an Alehouse ;
after Tenders.
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,
wlio 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 sculpsit. He engraved
the title for the 'Index Batavicus,' by Adriaan
Pars, printed at Leyden in 1701.
VAN DER AA, Thierry, (or Dibrice,) a Dutch
painter, bom at the Hague in 1731, was a disciple
of Johann Heinrich Keller ; and after quitting this
master he worked in concert with Gerrit Mets, 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 BARTHOLOMios,)
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 Banofc, 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 painted with insufiScient 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 1735, 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 Franyois 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 S. White.
Thomas Lamplugh, Archbishop of York.
Archbishop Tenison ; after the same. 1695.
John Smith, writing-master ; after Faithorne.
Charles II. ; after Gasear. 1675 and 1677. Two plates.
James II., large plate ; after Kneller.
Mary, his Queen ; after the same.
"William III. ; after the same.
Queen Mary II. ; after the same.
"William, Lord Eussell ; after tlie same.
Sir "William Temple ; after Lely. 1679.
Lady Litchfield ; after Verelat.
The same ; after Wissing.
William III. ; after the same.
Queen Mary II. ; after the same.
The Princess Anne. | Prince George of Denmark.
Thomas, Earl of Ossory.
Alexander, Earl of Moray. 1686.
George, Viscount Tarbat. 1692.
James, Duke of Monmouth.
Eichard, Lord Maitland. 1683.
Sir George Mackenzie. | Archibald, Earl of Argyle.
Frederick, Duke of Schomberg.
Kobert, Earl of Yarmouth.
John, Earl of Strathnaver, or Earl of Sutherland.
William, Duke of Queensberry.
George, Lord Dartmouth. | Sir Thomas Allen.
James, Earl of Perth. 1683.
George Walker, who defended Londonderry
Thomas -Dalziel. | John Locke.
Edmund Waller. Mt. 23 and ^t. 70. Two plates.
John Cotton Bruce.
The "Vu:rin and Child, with St. Elizabeth and St. John ;
after S. Bourdon.
Christ praying on the Mountain ; after the same.
The Naval Triumph of Charles II. from a ceiling at
Windsor Castle, by Verrio, in two sheets.
Mercury in the Air, bearing the portrait of Charles II.,
from the ceiling at Windsor Castle ; after the same.
615
Van der Baren
A BIOGRAPHICAL DICTIONARY OF
Van der Bruggeu
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 Brussels 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 BAREN, Jossb, painter, flourished
at Louvain in 1604. He is supposed to have been
a pupil of Michael Coxie. In the church of St.
Pierre, Louvain, there is a triptych by him, 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^verl^, engraved in the ' Lovanium ' (1604).
VAN DER BENT, Johannes, a Dutch painter, was
born at Amsterdam in 1650. He was first instructed
by Philips Wouwerman, on whose death 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.
^SE8,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, which
he marked N. V. D. Berg ; among them are :
Portrait of Justus Lipsius.
Portrait of a devout person, with a crucifix ; half length.
VAN DER BERGB, P., an obscure Dutch en-
graver, produced a set of plates for a folio volume
of prints, entitled ' Theatrum Hispanise,' 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, Biltius,) 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, Hendrik, 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
616 -
resided at Antwerp, where he died in 1660. We
have the following etchings by this artist :
The Virgin and Infant Jesus ; after Parmigiano. 1637.
The dead Christ, supported by Joseph of Arimathea,
from a drawing by Parmigiano after Eaphad. 1645,
Abraham at Table with the Angels ; after L. Garracci.
The Infant Jesus embracing St. John, from Guido's
print ; after AgoU. Garracci.
Apollo and Cupid ; after Peritic del Vaga ; oval.
Twenty-two plates of the Entry of Frederick, Elector
Palatine, with Elizabeth, Princess Boyal of England,
his Consort, into Frankenthal ; dated 1613.
VAN DER BORCHT, Hbndeik, the younger,
was born at Frankfort about 1610. He was edu-
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 DEB BORCHT, Pibtee, the elder, ii
Flemish landscape painter and engraver, was born
at Brussels about the year 1640. 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.
Rural Enjoyments ; Cornelis van Tienen exc.
The Feast of the Company of Archers ; same inscj'iption
A Country Wedding; fecit Petrus 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 deb 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 VS. The following are
the best :
Portrait of himself ; after Laryilliere.
Soldiers in a Tavern, drinking and playing Cards ; after
Teniers.
The Children of Teniers playing with Soap-bubbles;
affcT the same.
The Peasant War ; after the same.
An old Peasant, and a Girl playing on the Flute ; after
the same.
A Man drinking and aWoman smoking ; afterthe same.
Portrait of A. van Dyck ; se ipse pinx.
Portrait of Louis XIV. 1681.
Portrait of Johann August TJijtenbogaart ; after Bern-
bra-ndt.
The Gold Weigher ; after the same.
An old Woman weighmg Gold; J. V. Srug.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 der £rugh.en
PAINTERS AND ENGRAVERS.
Van der Does
VAN DER BRUGHEN, Hans or Louis, a French
painter of miniatures, was bom in Paris in 1615 ;
died in the same city, April 6th, 1658. He was a
member of the Academy of Painting in 1648, but
details of his life are wanting.
VAN DER BURCH, Ablbeet, was a portrait
painter, born at Delft in 1672. He was a scholar
of Verkolje, and of Adriaan van der Werflf.
VANDERBURGH, Jacques Andrj!; Edouard,
painter, son of one Dominique Vanderburch of
Cambray, was born at Montpellier, H^rault, Decem-
ber 1st, 1756. He studied in. Paris and Italj'. In
1791 he began to exhibit landscapes at the Salon.
In 1801 he won the Prix d'Encouragement with a
landscape with animals and shepherds. Some
religious pictures by him 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 Montpellier. Vanderburch died at the Sorbonne,
Paris, in August, 1803.
VANDERBURCH, Jacques Hippolytb, land-
scape painter and draughtsman, was born in Paris
in 1796. He was a pupil of his father, J. Andr^
Vanderburch, and also studied under David, Gudrin,
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 I'Aquarelle ' (1836), and
' Essais sur le Paj'sage a I'Huile ' (1839). He died
in Paris, October 20, 1864. There is a ' View on the
Lake of Geneva' by him in the Marseilles Museum.
VAN DER BURG, Adriaan, (or Vanderburg,)
was born 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 to 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 born
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 him 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 fruit 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 der Kabel.
VAN DER CAM, F., an obscure Dutch engraver,
who flourished about the year 1760. He scraped
a few plates of Scriptural subjects.
• VAN DER CAPELLE, Jan, (or Van de Kap-
pelle,) painter and etcher, was born at Amsterdam
about 1630. He received the freedom of that city
in 1663, and the dates on his pictures range from
1650 to 1680. He painted river scenes and sea-
pieces with great delicacy, also landscapes with
winter eJEects. In spite of the excellence of his
work, none of the Dutch writers notice either him
or his pictures. Amongst his best works may be
mentioned, 'Fishing Boats,' in the Rotterdam
Museum ; a ' River Scene with Shipping,' dated
1650, in the Museum at Amsterdam ; a 'View on
the Scheldt near Bats,' in the Arenberg Gallery ;
a ' Beach with Shipping,' in the Vienna Gallery ;
a 'Sea-piece,' in the Berlin Museum; a 'River
Scene ' at Bridgewater House, and five pictures in
the National Gallery, London. Of late years Van
der Capelle has become fashionable, and his pictures
now fetch considerable prices. Two etchings by
him are known ; one, in the Galerie d'Estampes,
Paris, is marked J. v. Gapel, pinx.
VAN DER CROOST, Anthonib 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 he
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 son of Anthony van der Croost. 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
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 Diepenteeck.
Gerard Coch, Senator of Bremen ; after A. van Halle.
George "Wagner, Quaestor of Eslingen, Plenipotentiary
at the peace of Osnaburg ; after the same.
The Marquis of Castello Eodrigo ; after Eubens,
The Magdalene ; after Van Dyck.
A Miracle wrought by St. Francis; after A. van Die-
The Virgin and Child ; after Erasmus Quellin.
The Holy Family ; after the same.
VAN DER DOES, Jakob, the elder, was born 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 It.ily. He made drawings of views
in the vicinity of Rome, and the work of Peter van
Lacr 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. Gallery. Landscape with Animals.
Copenhagen. „ Sheep at pasture on a Hill,
„ „ Sheep and Goats in an Italian
Landscape.
„ „ Sheep under Oak-trees.
617
Vau der Does
A BIOGRAPHICAL DICTIONARY OF
Van der Faes
Vienna. Gallery. Landscape with Figures and
Cattle.
„ ,, Italian Landscape.
VAN DER DOES, Jakob, the younger, second
son of the elder painter of the name, waa born 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
der Does the elder, was born at Amsterdam in
1653, and was instructed in art by Adriaan van de
Velde. His pictures, like those of the elder Van
der Does, usually represent Italian landscapes, with
figures and cattle, painted in a clearer and more
agreeable 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,
born at'Alost in 1757, He learnt the rudiments or
art from J. de Rycke, and afterwards studied under
Suv^e and Gaeremyn at the Bruges Academy. In
his youth he was intended for a Jesuit, but 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. He 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 the 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 misla'id 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 ELJDBN, Jan, (or Jeremiar,) 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 dek Heyden.
618
VAN DER BIJK, Abraham, (or Van der Eye,)
was a contemporary of Willem Mieris, and painted
somewhat in the manner of that master.
VAN DER ELST, Pietbe. See Verelst.
VAN DER EYDEN, John. See Van dee Eijden.
VAN DER FAES, Pietbe, better known as Su-
Peter Lely, was born in 1618, at Soest in West-
phalia, where his father (a captain of infantry,
who had changed his name from Van der Faes to
Lely) was in garrison. He studied under Pieter
Franz de Grebber at Haarlem for about two years.
On the death of Van Dyck in 1640 he determined
to visit England, where he arrived the following
year. He first painted landscapes with historical
figures ; but finding that portrait painting was
more encouraged here than any other branch of
art, he devoted himself to it, imitating the style
of Van Dyck. At the marriage of the Prince of
Orange with the Princess Mary in 1643, he was
presented to Charles I., and painted his portrait
and those of William and the Princess. He re-
mained in England during the Commonwealth, and
painted the portrait of Cromwell. At the Restor-
ation, Charles II. appointed him his principal
painter, and made him a baronet, 1679-80. From
1662 to his death he lived in the Piazza, Covent
Garden. He was seized with apoplexy while paint-
ing the portrait of the Duchess of Somerset. He
died in 1680, and was buried by torchlight jn the
church of St. Paul's, Covent Garden, where his bust
by Grinling Gibbons was destroyed by fire in 1795.
Lely's collections of works of art and his other
effects were sold after his death, and produced the
very large sum for the time of £26,000. His will,
in which he bequeathes fifty pounds towards the
building of St. Paul's, was printed for the Camden
Society in 1863. The number of his portraits in
private hands is very great. The following are
among the more remarkable :
Dublin. Nat. Gallery. James, First Duke of Ormonde.
„ „ Portrait of a Girl.
Greenwich Hos- Great } The Flagmen : Twelve portraits
pital. Sail. J painted for the Duke of York
(James II.). They are :
1. James Duke of York. 2. Earl of Sandwich (Edward
Montague). 3. Sir Thomas Allen. 4. Sir George Ascue.
5. Sir William Berkeley. 6. Sir Thomas Harman (the
finest of the series). 7. Sir Joseph Jordan. 8. Sir John
Lawson. 9. Sir Christopher Mennys. 10. Sir William
Penu (the father of the great Quaker). H. Sir Jeremy
Smith. 12. Sir Thomas Tiddiman.
Hampton Court. Beauties of the Comix of Charles
II. {origiTiaZly eleven — tivo are
missing) :
„ Barbara, Duchess of Cleveland,
as Minerva.
„ Frances Stewart, Duchess of
Richmond.
„ Mrs. Middleton.
„ Elizabeth, Countess of North-
umberland.
„ Countess of Falmouth {mis-
called Countess of Ossory).
„ Elizabeth Brooke, Lady Den-
ham.
„ Frances Brooke, afterwards
Lady Whitraore.
„ Henrietta Boyle, Countess of
Rochester.
„ Miss Hamilton, afterwards
Comtesse de Grammont.
„ Lady Bellasys.
„ Jane Kelleway as Diana (rniscalled
Princess Mart/).
„ Anne Hyde, Duchess of York.
>, (?) Marie d'Bste (rniscalled Mil
Gxrynne]
Van der Goes
PAINTEHS AND ENGRAVERS.
Van. der Gucht
Hampton Coiirb. Anne, Countess of Sunderland.
,, Princess Isabella, daughter of
James II.
„ A Magdalen.
„ Portrait of Lely.
London. Ifat. Fort. Gall. Duke of Albemarle.
„ „ Duke of Buckingham (fine).
„ „ Duchess of Cleveland.
„ ,, Mary Davis {very fine).
„ „ Sir Harbottle Grimston.
II „ Nell Gwynn (very fine).
,1 „ Lord Jermyn.
n » Duke of Ormonde.
„ ), Earl of Ossory.
„ „ Prince Rupert.
), „ Countess of Shrewsbury.
I) » Thomas Stanley.
„ „ Sir "William Temple.
I, „ Anne Hyde, Duchess of York.
„ „ Charles II.
,» ,5 Comtesse de Grammont (very
fine).
„ „ Duke of Monmouth.
„ „ Earl of Sandwich.
,, „ Mrs. Jane Middleton (very
fine).
„ „ Earl of Southampton.
„ Nat. Gall. Portrait of a Girl.
Oxford. Bodleian Lib. Samuel Butler.
Windsor Castle. Charles II.
„ Duke of Gloucester.
„ Prince Eupert.
VAN DER GOES, Hugo, was bom at Ghent (?)
about the year 1405. He is described by Van
Mander as a painter of Bruges and pupil of the
Van Eycks, statements which are probable enough,
but of which we have no positive evidence. ]3is
earliest works were the distempered canvases with
which the churches and palaces of Bruges and
other lowland towns were decorated instead of
frescoes, which would not stand the climate. He
also made cartoons for glaziers. Vasari calls Van
der Goes " Hugo of Antwerp ; " and Van Vaerne-
wijk, (the historian of the Rebellion.) " Hughe van
der (Jhoest in Zeelandt, so called because he lived
long in that country, though he was born at Ley-
den." He was a master at Ghent in 1465, and
became a sworn arbitrator to the Guild of Painters
in 1468, a rank no member could hold until he
had enjoyed the freedom for at least a year, and
had paid the fees. It is suggested that he had
previously joined that at Bruges, and in the same
year was called to take part in the preparations for
the wedding of Margaret of York at Bruges and
at Ghent. There is some reason to believe that,
about the time of the Ghent insurrection in 1440,
Van der Goes was invited to Paris, and there
painted the ' Crucifixion,' which still hangs above
the judges' seat in the Oour d' Appel. About 1450-3
he appears to have settled at Ghent, where, in
1472-75, he presided as elder in the Guild. In
1476 he entered the Convent of Rooden Cloestere,
near Brussels. Here he was allowed various in-
dulgences, among them that of dining in the re.-
feotory with the distinguished strangers who came
to see him. On these occasions he would drink
much wine, which had a great efiect upon his
excitable temperament. Five or six years after he
' professed ' he went to Cologne with some brother
monks, and on his return had an attack of madness
which the Prior attempted to mitigate with music.
In 1478 he went to Louvain, to value an unfinished
picture by Dierick Bouts, receiving a stoup of wine
for his trouble. He died in . 1482, his insanity
having in the meantime disappeared. Of all the
oil pictures that he produced, the only one his-
torically authenticated is that mentioned by Vasari,
which he painted to the order of Tommaso Por-
tinari, agent in Bruges for the Medici, for the
Hospital of S. Maria Nuova at Florence, where it
is still preserved. Of this triptych, the middle
picture represents the ' Adoration of the Shep-
herds ; ' the figures being almost life-size. On
one wing are the portraits of Tommaso Portinari
and his two little sons, presented by their patron
saints Matthew and Anthony ; on the other his
wife and daughter, presented by SS. Margaret
and Magdalen. Many works of Van der Goes
perished by the hands of the Iconoclasts. Several
important pictures by other masters have until
lately been erroneously attributed to him. Two
in the National Gallery, a ' Portrait of an Eccle-
siastic,' and ' The Madonna and Child Enthroned,'
bear his name in the catalogue ; the latter is by
Dierick Bouts. Nearly all large museums have
pictures ascribed to Van der Goes, mostly quite at
random. Among pictures by him, known to have
once existed, which are now missing, we may name :
two panels with scenes from the legend of St.
Catharine ; and four episodes from the seven sacra-
ments, which Albrecht Dtirer saw in the Nassau
Palace, at Brussels, and ascribed to Meister Hugo.
Among other pictures ascribed to him with more
or less justice, aje a ' Madonna and Child, with
SS. Catharine and Barbara,' which found its present
place in Santa Maria del Gesu at Polizzi, in Sicily,
through a ship on which it was freighted being
wrecked in the neighbourhood ; and a ' Madonna,'
in the Bologna Gallery. Messrs. Crowe and Caval-
caselle do not believe in Hugo's authorship of the
latter W.A.
VAN DER GOUWEN, Willem, a Dutch en-
graver, was a native of Amsterdam and flourished
early in the 18th century. We have 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 DER GRACHT, Jakob, a Flemish painter
and engraver, was born at Lierre (?) in 1693.
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 him 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 John 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 21st,
1794.
VAN DER GUCHT, Gerard, an elder son of
Michiel van der Gucht, was born in 1696 (or 1695).
He was the pupil of Ijouis Cheron, 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
619
Van der Gucht
A BIOGRAPHICAL DICTIONARY OF
Van der Heist
dealer, founding a " Gallery " in Lower Brook
Street. He was employed by Sir Hans Sloane.
He died, the father of thirty children, in 1776. We
have by him, among others, the following portraits :
John Tillotson, Archbishop of Canterbury; after KnelUr.
John Milton, Poet ; three plates.
John Dryden, Poet ; after Kneller.
John Hughes, Poet ; after the same.
John Philips, Poet ; after the same.
CoUey Gibber, Poet and Actor ; after Van Loo.
Charles Jervas, Painter.
The Eour Seasons ; after Col/pel.
VAN DER GUCHT, John, a younger son of
Miohiel van der Gucht, was born in London in
1697, and was taught engraving by his father.
He also studied under Louis Charon. He died in
1776. He engraved six academical figures, from
the drawings of Charon, which were much ad-
mired ; and was employed by Wilham 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
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
Hammoftd.
■William King, LL.D. ; prefixed to his works.
John Dennis, critic.
VAN DER GUCHT, Miohiel, a Tlemish en-
graver, was born at Antwerp in 1660, and was
first a pupil of one of the Boutats, but came early
to England, and 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 16th, 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
JFoster ; his best work,
James Stanley, Earl of Derby ; afteir Winstanley.
Francis Atterbury, Bishop of Rochester ; after K-neller.
"William Oongreve, 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 Louvain 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, Jan or Joms, (or Ver-
HAGKN,) painter, was born at the Hague, where he
was living as early as 1640. The year of his birth is
unknown, but various improbable dates have been
given. His identity also has been matter of doubt,
some writers holding that Jan and Joris Van der
Hagen were two distinct persons. Messrs. Bredius
and Stuers ascribe all the Van der Hagens at
Amsterdam and the Hague respectively to ' Joris ',
making no mention of ' Jan '. Joris was one of the
forty-seven artists who founded the Pictura Society
at the Hague in 1656. He was the friend of
620
Berchem and Adriaan van de Velde, and studied
the works of Ruysdael. He painted landscapes,
and views chiefly taken from the environs of Cleves
and Nimeguen. The pictures of Verhagen are well
painted ; but having made use of a pernicious
pigment, much in vogue at his time, called Haar-
lem blue, the freshness of his greens and blues
has disappeared. He died in 1669. Several land-
scapes by him are at Amsterdam, Berlin, Copen-
hagen, the Hague, and Rotterdam. One of the
best of his landscapes is in the Louvre; it repre-
sents a ' Village in a Plain,' with a Sportsman,
his Servant, and his Dogs, 1660.
VAN DER HAGEN, Johann, a Dutch marine
painter, bom 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 y LEON, Juan db, 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 Eugenie
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
his portraits were agreeable. His chief merit was
displayed in kitchen-pieces, of which an excellent
example is in the Gallery at Madrid. He died
in 1632.
VAN DER HECKE, Marten Heemskerk, was
the son and pupil of Nicolas van der Hecke. He
painted landscapes with ruins, but never rose above
mediocrity.
VAN DER HECKE, Nicolaas (or Claesz)
Dircksz, was born at the Hague about the year
1580, and was a scholar of Jan Naghel, and a rela-
tive of Marten Heemskerk. He painted history and
landscapes, but excelled chiefly in the latter. Of
his historical works, the most important are three
large pictures in the town-hall at Alkmaar : the
' Decapitation of a Magistrate, for an act of oppres-
sion towards a Peasant ; ' the ' Punishment of Cam-
byses ; ' and the ' Judgment of Solomon.' He was
one of the founders of the S. Luke's Guild at Alk-
maar, in the year 1631. He died in 1638. 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 Heyden.
VAN DER HELST, Bartholomfus, portrait
painter, was born at Haarlem in 1611 or 1612.
The 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 that
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 his better known
and more numerous works are portraits and
Van der Heist
PAINTERS AND ENGRAVERS.
Van der Hulst
portrait groups, often of civic officers or archer
guards. He has been called a realist 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 hare 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 :
Amsterdam. Museum. The Banquet of the Civic Guard
on June 18, 1643, in celebra-
tion of the conclusion of
peace with Spain. 1648. {His
viost famous picture.)
„ „ The Heads or ' Umpires ' of the
Brotherhood of St. Sebastian,
Amsterdam. 1653.
„ The Company of Captain Koelof
Bicker and Lieut. J. M. Blau,
before a tavern in Amster-
dam. 1639.
„ „ Portrait of the Princess Maria
Henrietta Stuart.
(And eleven others.)
„ Town-hall. The Marksmen. 1656.
„ fVorkhouse. Conversation-piece. 1650.
Hague. Gallery. Portrait of Paul Potter.
London. Nat. Gallery. Portrait of a Lady in Blue.
„ „ (?) Portrait of a Lady.
Munich. Gallery. Two Portraits.
New York. Museum. Music.
Paris. Louvre. Smaller repetition of the above
picture, ' The Umpires.' 1688.
Rotterdam. Museum. Portrait of » Protestant Divine ;
signed and dated 1638, pro-
hahly his earliest work. (Arid
four others.)
VAN DER HE5iST, Lodewijk, painter, was the
son of Bartholomeus van der Heist. He was born
at Amsterdam in 1646, 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 Adriana Hinlopen.
VAN DER HE YDEN, Jan, (or Van der Heijden,)
was born at Gorinchem (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 Amsterd am,
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
Lingelbach 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. K. Museum. A Quay with Trees.
Brunswick. Gallery, A Landscape with old Castle.
Munich.
Bridgewater Gall,
Buckingham Pal.
Ashhurton Coll.
Gallery.
Paris. Zouvre.
J) ))
Petersburg. Hermitage.
Brussels. Arenhurg Coll. The Quay of Amsterdam.
Cassel. Gallery. A Palace in Brussels with
Dutch Flower Garden, &o.
Copenhagen. „ View of a ChiUeau.
Dresden. „ View of a Convent.
(And three others.)
Hague. Museum. View in a Dutch Town.
London. National Gall. Street in Cologne.
„ „ An Architectural Group.
„ „ Landscape.
Street in a Town.
View in a Dutch Town.
Dutch House by a Caoal.
View in a Dutch Town.
A Market-place at Mid-day.
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.
Vienna. Gallery. Old Castle surrounded by
Water.
There 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 the beginning of the 17th century he was living
at Frankfort, where he engraved a number of small
pictures of churches, an 'Interior of Strasburg
Minster' among them.
VAN DER HORST, Gerard, a Dutch draughts-
man and painter of landscapes and marines, who
flourished in the 17th century. Jan van de Velde
engraved after him.
VAN DER HORST, Nicolas, was born at Ant-
werp in 1598, and was educated in the scliool 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 Jepli-
thah ' was in the Suermondt 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 born 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 :
Brun.swick. Gallery. A Church Consecration. 1628.
Frankfort. Stadel Inst. Dutch Village with Eiver. 1652.
VAN DER HULST, Pieter, a Dutch painter,
born at Dordrecht in 1652. He was at first a pupil
of W. Doudyns, but from 1674 he studied under
Mario Nuzzi, at Rome, where he attempted his-
torical painting, but without success. He after-
1 wards painted flowers, fruit, and reptiles, in the
621
Van der Jagt
A BIOGEAPHICAL DICTIONARY OP
Van der Leepe
style of Nuzzi. Ultimately he settled at the
Hague. He was called ' Toiirnesol ' 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, Maetinus, 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 1805.
:, VAN DER JEUGHT, Jan Jozbf, 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, Adkiaan, or Akib, (or Van
DER Cabel,) originally Van dee Toow, painter and
etcher, was born at Ryswiok, 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
I 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
i imitated the style of Benedetto Castiglione and
.' Salvator Rosa, at others that of the Carracci and P.
• P. Mola. His pictures are very unequal, as his
I life was irregular and dissolute. Descamps says
I 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, Tvith figures and buildings.
Another set of thirty Landscapes and Marines.
A set of four mountainous Landscapes, with figures ;
inscribed A. vander Cabel fecit. N. Robert exc.
Two large Landscapes, with figures.
A large upright Landscape, with St. Bruno : the figure
is engraved with a single stroke, in the manner of
Mellan.
Another, its companion, with St. Jerome.
VAN DER KAPPEN, Pkans, 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 DEB KOOGEN, Lebndebt, 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 efforts were in history,
but becoming acquainted with Cornells Bega, he
quitted that for conversations, boors regaling, and
other things in the style of Bega. He entered the
Haarlem Guild in 1652, and died in that city in
1681. His works are little known out of his own
country. Van der Koogen has left several etchings,
some of which 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 the 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 Bcce
Homo, 1664 ; St. Sebastian, 1665 ; and two Men play-
ing at Tric-trac.
VAN DER KOOGH, Adrianus, painter, was
born at Middelharnis in 1796, and died at Dor-
622
drecht in 1831. The Rotterdam Museum has a
landscape by him.
VAN DER KOOI, Willem Baetel, was born at
Augustinusga, in Friesland, in 1768. He studied
under J. Verrier, at Leeuwarden, and under Beek-
kerk, and in 1798 became teacher of drawing at the
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 dee Maes,)
Bvrard, 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
Prederiksborg Chapel, Copenhagen, which were
destroyed in the fire of 1859, were by him.
VAN DER KDYL, Gtsbbet, a Dutch painter,
born at Gouda at the .beginning of the 17th century.
He was a pupil of Wouter Crabeth the younger,
and also spent twenty years in Prance and Italy.
His manner shows the influence of Honthorst and
Abraham Bloemaert. . He died at Gouda in 1673.
The Amsterdam Museum possesses two of his
works.
VAN DEE LAAK, Maria, a Dutch painter, who
worked at the Hague about the middle of the 17th
century, and died there in 1664.
VAN DER LAAN, Adeiaan, a Dutch engraver,
was bom at Utrecht about the 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 Prans Floris, who flourished in the 16th
century, and painted history in small.
VAN DER LAMEN. See Van der Lanen.
VAN DER LANEN, Cheistoffel 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 Prans Prancken 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 of 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 furnished
with figures 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
Van der Leeuw
PAINTERS AND ENGRAVERS.
Van der Meer
1716 'i^chevin.' He died in 1720. A series of
fourteen pictures by him, from the life of Christ,
is at Bruges.
VAN DER LEEUW, Gabriel, (or Gabeiele
Leone,) was born at Dordrecht in 1643. He was
the son of Sebastiaan Van der Leeuw, a painter of
landscapes and animals, who had been a scholar
of Jacob Gerritz Cuyp. 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 Prance 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 styles. After a residence of ten
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. fioos. When in Italy he signed these
G. Leone, which has led to the invention of an
apocryphal Giovanni, Gabriele, or Guglielmo
Leone.
VAN DER LEEUW, Pieter, a native of Dor-
drecht, was a younger son 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 LEUR, 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, Dieck, 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 born 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 Prance, 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. Prom Paris he
went to Itaiy, where he painted ' Marius among
the Ruins of Carthage,' for which he received a
gold medal from Napoleon I. in 1807. After his
re-establishment in America in 1816, 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 Dieck,
(Van der Lis, or Van der Lijs,) was born at Breda
in 1600, and was a scholar of Cornelis 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 to be identical with Giovanni Lutz, after
whom Mogalli engraved 'A Sacrifice of Isaac'
He has also been confused with Jan Lis, called
Pan (g'. u). He died at Rotterdam in 1657. Pictures
by him are at Brunswick and Copenhagen.
VAN DER MAES, Koenrad, a Dutch painter,
flourished 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
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 MEER, Baeend, (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 DER MEER, Cathaeina, probably a
daughter of Jan van der Meer the 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, Geeaed. See Van dee
Meiee.
VAN DER MEER, Jan, called Van dee Meer, of
Delft. See Vee Meee.
VAN DER MEER, Jan. See Van dee Meiee.
VAN DER MEER, Jan, the elder, (erroneously
Veemeeb,) 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.
),
j>
Two Landscapes.
Brunswick.
Gallery.
A Landscape.
Dresden.
„
Two Forest-scenes.
Munich.
Findkotheh.
Four Landscapes.
Paris.
Louvre.
Entrance to an Inn.
Vienna.
Gsell Coll.
A Landscape. 1663.
VAN DER MEER, Jan, the younger, (errone-
ously Veemeee,) was the son of Jan van der Meer
623
Van der Meer
A BIOGRAPHICAL DICTIONARY OP
Van der Mij
the elder, and was born 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
pleasing scenery. He died at Haarlem in 1705.
Pictures :
Amsterdam. R. Museum.
Berlin. Musmm.
Copenhagen. Oallery.
Dresden. „
Frankfort. Stadel Inst.
Petersburg. Hermitage.
Eotterdam. Musmm.
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 fecit.
1683.
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 MEEREN, (or Meben,) Jan, a Flemish
painter and engraver, who worked at Antwerp, and
was Dean of the Guild of St. Luke in that city in
1505.
VAN DER MEERSCH, Paschdiek, is mentioned
in the archives of Bruges as having entered the
Painters' Guild in that city in 1483, 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 MEIRE, Gekaed, a Flemish painter,
who flourished about the middle of the 15th century
at Ghent. He entered the Guild of St. Luke,
in that city, in 1452, and was sub-dean in 1474.
He is described in a chronicle of the 15th century
as a pupil of Hubert van Eyck, but van Mander
says he began to paint after the death of Jan van
Eyck, which is confirmed by the date of his enrol-
ment in the Guild. 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, com-
posed of a 'Crucifixion,' 'Moses striking the Rook,'
and the ' Brazen Serpent,' all much damaged, which
is signed with his name, but the signature is not
beyond suspicion. It is of very slight merit.
Messrs. Crowe and Cavalcaselle are inclined to
accept as his a 'Visitation' and an 'Epiphany,' in
the Berlin Museum, and taking them as standards,
to ascribe also to him a ' Visitation,' in the collection
of Baron Speck von Sternburg, at Liitsohena, near
Leipsic ; the ' Exhumation of St. Hubert,' in the
National Gallery (No. 783) ; the picture known as
' A Count of Henegau, with St. Ambrose,' in the
same collection (No. 264) ; several pictures in the
gallery at Antwerp ; and an ' Annunciation to
(? coronation of) the Virgin ' at Madrid, where it
is assigned to the school of Van Eyck. To this
Van der Meire some of the miniatures in the
Grimani Breviary at Venice used to be ascribed.
Gerard Horenbout is now believed to have been
their author. The portrait of Marco Barbarigo, in
the National Gallery, where it is ascribed to Van
624
der Meire, is now considered the work of Petrus
Cristus. W.A.
VAN DER MEIRE, Jan, a painter of Ghent in
the 15th century, is called by Immerzeel a brother
of Gerard van der Meire, and scholar of the Van
Bycks. The same author says he painted a picture
of 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. An interesting discovery
has recently been made concerning Jan van der
Meire. It has been ascertained that a triptych in
the church of S. Sauveur, Aix, which was long
ascribed to. King Ren^ of Anjou, is in reality Jan's
work. It represents King Ren6 with his wife
and their patron saints. The following pictures by
him are at present not to be found :
The Martyrdom of St. Lieven.
The Death of St. Bavon.
Reiffienberg {De la peinture sur verre aux Pays
Bas) mentions a Jan Van der Meire who was
registered in the Antwerp Guild in 1505. The
name, however, was a common one at Ghent during
the 14th and 15th centuries.
VAN DER M^RE, Libven, a Flemish painter of
the 16th century, the date of whose death has been
hypothetically given as 1525-27. He is known to
have worked at Lyons, where there are several
pictures by him in churches.
VAN DER MEULBN, Adam Feans, 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 hia
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 flatter the
ambition of Louis XIV., Le Brun recommended
Van der Meulen to Colbert, as a likely person to
fitly commemorate the 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 Chlteau 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 1673 he 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 DER MEULEN, Pieteb, 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. Largillifere's portrait of this artist was
mezzotinted by Becket.
VAN DER MIJ, Jerome, (Van der My,) was
born at Leyden in 1687, and was a scholar of
Van der IHiju
PAINTERS AND ENGRAVERS.
Van der Neer
Willem Mieris. He painted history, portraits, and
genre subjects.
VAN DER 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, Andreas, an obscure Dutch
engraver, was the second son of Herman van
der Mijn, and resided some time in London. He
was bom 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, Gerhaedt, the eldest of the
sons of Herman van der Mijn, was born in 1706,
and painted chiefly in London. His subjects were
portraits, ladies attired as shepherdesses, and other
subjects after the manner of contemporary French
art.
VAN DER MIJN, Herman, painter, was born
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, wh,ere he passed
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 Duke
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 born 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 born in London
in 1724. He was an imitator of Watteau, and
VOL. IL S S
exhibited portraits with the Free Society in
1762-3-4.
VAN DER MOERE, Nicolas, an early Flemish
painter, who is mentioned in a record of 1397 as
practising at Antwerp.
VAN DER MOIEON, , 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. He 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,)
Gheeolf, a Flemish painter of the 15th century,
was a pupil of Daniel De Rycke. He became
Master in the Painters' Guild at Ghent in 1453.
In 1460-61 he was engaged on an altar-piece for
the church of Everghem-lez-Gand, jointly with
Lieven Van Den Bossche.
VAN DER NEER, Aeet, (Aernout,) was born
at Amsterdam in 1603. Scarcely anything is
known of his life. He excelled in moonlight
views, generally of towns, and groups of cottages
or fishermen's huts on the banks of a river 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 sunsets and
often winter pieces, with figures amusing them-
selves on the ice, in which he is scarcely surpassed.
He died, very poor, at Amsterdam, November 9,
1677. A great variety of dates have been proposed
for Aert van der Neer. Those here given are due
to the researches of Mr. Bredius. 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 an N
)^B1-
Works :
Amsterdam. B. Museum.
Berlin.
Dresden.
Museum.
QalUry.
Dublin. Nat. GaZ.
Dulwich. Gallery.
Frankfort.
Glasgow. Gallery.
London.
Nat. Gall.
A Winter Landscape.
A Stream in Winter.
Landscape.
A Moonlight Piece.
Dutch Town on Fire.
Conflagration at Amsterdam.
Burning of the old Stadthuis at
Amsterdam.
Winter Landscape.
Three Moonlight Landscapes.
Two Moonlight Views, com-
panion pictures.
Dutch Houses on a Canal
Burning Village on a Canal.
Town on Fire by a Eiver.
Eiver Scene by Moonlight.
An Evening Scene.
Moonlight on a Dutch Canal.
Winter on a Dutch Canal?
(perhaps by Van der Poel).
An Evening Scene, the figures
by A. Cuyp.
A Moonlight Piece.
625
Van der Noer
A BIOGRAPHICAL DICTIONARY OF
Van der Poorten
London. Nat. Gall. A Canal , figures by Lingelbaoh ?
,, „ A Frozen River.
Munich. A Moonlight Landscape.
Paris. Zouvre. Banks of a Dutch Canal, the
animals by Cuyp.
„ „ High Road through a Dutch
Village.
Petersburg. Hermitage. View on the Meuse.
„ „ The Meuse near Dordrecht.
„ „ The Rhine near Leyden.
„ „ A Winter Landscape.
„ J, The Meuse at Dordrecht;
Moonlight.
„ „ River with a Ferry, by Moon-
light (and three others).
Rotterdam. Museum. A Moonlight Piece.
VAN DER NEER, Bglon Hendeik, the_ son of
Aert van der Neer, was born at Amsterdam in 1643,
and received his first instruction from his father,
but his taste leading him to history and portiaits,
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, Avhich have little to
recommend them but their elaborate finish. He
was more successful in genre, in which he appears
to have imitated Terboroh 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 Werff.
Works :
Amsterdam. Tobias with the Angel. 1690.
Augsburg. A Rocky Landscape. 1702.
Dublin. Nat. Gall. Gentleman preparing for the
Chase.
Glasgow. Gallery. Venus and Adonis (very good).
„ „ Cavalier singing and playing
the Violin.
London. Bridgewater ) . t>„_
Galley. }ABoy.
Munich. The Lute-player.
Paris. Zouvre. The Fishmonger.
„ „ A Chariot with two horses in a
, Landscape.
Petersburg. Hermitage. Two Laudscapes.
„ „ A young Cavalier peeling an
Orange.
Rotterdam. Museum. Young Woman playing on the
Guitar (very good).
Vienna. .Academy. A Lady at Tahle.
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,
NiKLAS VAN DEB, Pbhre, wlio had fled as a heretic,
from Antwerp to Leipsic, and afterwards died in
the latter city in 1695. 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 PLAES, David, (or Plaas,) portrait
painter, was born at Amsterdam in 1647. After
studying for a time in his native country, it is said
that he travelled to Italy, and resided some years at
. Venice, where the works of Titian were the objects
626
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 Trorap. 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 1797, and also for
the Boydells. The Amsterdam Museum possesses
two portraits by him.
VAN DER PLAS, Pietek, (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 Sohenck. 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. Fitis 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 pupil of Ferdinand de Berdt. He
was received into the mastership of the Guild in
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 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 B. V. P. He
removed from Delft in 1654, and died at Rotterdam
in 1664. The following pictures by him may be
named :
Amsterdam. Museum. Interior of a Cottage. 1646.
Brussels. Museum. Interior of a Kitchen.
Copenhagen. Gallery. Borning of a Town.
Hague. Museum. Moonlight Scene.
London. JVat. Gallery Delft after the Explosion of
1654.
Paris. Zouvre. Peasants before their Door.
Petersburg. Hermitage. Three Klitchen pieces.
Stuttgart. Gallery. Attack of Robbers.
Vienna. Gallery. Peasant Family before a
Cottage.
VAN DER POORT, Aelbert Jakob, an obscure
Dutch painter of landscapes and portraits, was bom
in 1771. He was a pupil of Beekkerk, and died in
1807.
VAN DER POORTEN, Hbndrik Josef Fean-
ciscns, landscape painter and etcher, was born at
Antwerp in 1789, and was a pupil of Herreyns
and Mayn. He was in much repute about tlie
year 1815, and his landscapes with figures and
Van der Koer
PAINTERS AND ENGRAVERS.
Van der Stock
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 bom at Dordrecht
in 1648. He studied portrait painting under Jan de
Baen, and practised for some time in England,
during the reign of Charles II. 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, Cobnelis, 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 ' Officers of the Archers' Corps of St. George.'
VAN DER SCHELDE, Libven, a Flemish
painter of history and miniatures, who flourished
at Ghent about 1680. He was one of the artists
employed with Lucas de Heere in 1582 on the
decorations for the reception of the Due d'Alen-
qon, and also reproduced in miniature the decora-
tions for the Joyeuse Entree of Alessandro Farnese
into Ghent, 1684. These he presented to the
Municipality of Ghent, to which they still belong.
VAN DER SCHLEY, Jacob, a Dutch engraver,
was born 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 Baptists Boyer, Marquis d'Argens ; after Van Tee,
Autoine Bernard Prfirot, Almoner to the Prluce of
Conti ; after the same.
Bernard Picart, Engraver ; after Mathias des Angles.
1734.
Henri de la Tour d'Auvergne, Vioomte de Turenne ;
after the same.
The prints after Coypel for the edition of ' Don Quixote '
pablished at Amsteidam in 1746.
VAN DER SCHLICHTEN, Jan Philipp, (or
Von deb Schlichten,) a Dutch painter of the 18th
century, was a pupil of Adrlaen Van der Werfl',
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 1746.
In the Munich Pinakothek are the following by
him: 'A Village Musician' (1731), 'S. Andrew'
(1732). His son Johann Feiedbich, 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, Theodooe, 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 patronage of Christina, Queen of Sweden,
who employed him in several undertakings. After
a residence of fourteen years at Rome, Van der
s s 2
Sohuur 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 Gallery
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-
cation 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, he was placed under
Ary de Vols, 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 SLUYSE, Charles, a Flemish painter
of little note, who was a. pupil of the Antwerp
Academy in 1773, and became Director in 1784.
VAN DER SPELT, Adbiaen, a flower painter,
was bom at Gouda, according to some authorities,
or at Leyden, according 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 STBEN, Feans, 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 fifty prints enumer-
ated by Nagler we may name the following :
Cornelis Cort, Engraver, of Antwerp.
Dirk Cuerenbert, Engraver, of Amsterdam.
Andrea del Vaulx, Professor of the University of
Louvain.
The Holy Family ; after Titian.
La Madonna del Sacco ; after Andrea del Sario,
Michelangelo's Dream ; after Michelangelo.
Soldiers playing at Cards ; after Manfredi.
•The Adoration of the Trinity ; after Albrecht Durer.
The Martyrdom of the Ten Thousand Saints ; from a
drawing by Van Iloye, after the picture by Albrecht
Diirer, now in the Vienna Gallery.
Silenus drunk, supported by Satyrs and Bacchante ; after
Van Dyck. {JRulens ?)
Oupid shaping his Bow ; after Farmigiano (ascribed to
Correygio in the lettering).
Jupiter and lo ; after Correggio.
Ganymede ; after the same.
VAN DER 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
627
Van der Straet
A BIOGRAPHICAL DICTIONARY OF
Van der Venne
was his pupil. His plates are slight but spirited.
Some are from designs by Fouqui^res, others after
compositions of his own. Among them we may
cite :
View of Linkenbeek. A Swamp.
The Two Stags. Gentleman giving alms.
A Forest.
VAN DER STRAET, Jan, also called Johannes
Stradanus and Giovanni dblla Stbada, was born
at Bruges in 1623, 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 undertalre 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
woi-ks, 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 Archiepisoopal 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 his 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 Baldinucoi. 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 Perarum, Avium, Pisciura,'
&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, Hendkik, (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 I 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
Euysdael 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 DEB Steaeten, who is stated to have come to
London, and to have died there in 1722.
628
VAN DER STRATEN, JORIS, a Flemish por-
trait painter, resided in Portugal about the middle
of the 16th century. This appears by 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 Estraten, July 4,
1666. He received a further sum of 80 cruzades
for painting the portrait of Dom Sebastiaen, the
youngest son of the queen, on December 14, of
the same year.
VAN DER ULFT, Jakob, was born at Goreum
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 Goreum, 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
pupil 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 Rome and the vicinity. He
also painted Dutch scenery. He understood per-
spective and architectural details, and his works
are generally crowded with figures, well grouped
and draped. His pictures are rare out of Holland.
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 :
Amsterdam. R. Museum. An Italian Port.
„ „ An Italian Town.
„ „ A Market-place in Italy.
Berlin. Museum. Market with Temple Kuins.
{A mastcrjyiece.) 1671.
Dresden. Landscape with ruins and
figures.
Haarlem. Ifvseum. The Forum at Rome.
Hague. Museum. Roman Army on the March.
1671.
Petersburg. Hermitage. The Triumph of Scipio.
Rotterdam. Museum. The Bride of Allucius before
Scipio. 1674.
VAN DER VAART, Jan, was born at Haarlem
in 1647. 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
he 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 ot Cork ; ad vivum del.
VAN DER VALCK, Simon, a goldsmith and
painter, who flourished at Delft or Leyden about
1615.
VAN DER VAST. Tliis name is said to be
affixed to some etchings of landscape.
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 Middelburg, but in 1626 he was at
the Hague, and his name occurs in the archives
of that city from that year onwards. He was a
Van der Venne
PAINTERS AND ENGRAVERS.
Van der Vliet
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. He 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.
Priace Maurice of Nassau, with
his Brothers and Cousins, all
mounted.
»
»
The Fishers for Souls, an
allegory, with numerous
portraits.
{And four others^
Berb'n.
Museum.
Summer (1604), Winter (1604).
Brunswick.
Gallery.
Gipsy Family.
Oassel.
Galla-y.
An old Castle.
Christiania.
Market Place.
Hague.
Museum.
Bonde de Guetix.
Paris.
Louvre.
Peace Festivities of 1609, for
the treaty between the Dutch
and the Archduke Albert.
Rotterdam.
Museum.
Prince Frederick Henry of
Orange.
VAN DER VENNE, Hubert, 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. Pibter van der Vennb, probably
another son of Adriaen, Avas 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, Izaae, a Dutch engraver,
son of Vincent Laurenszoon van der Vinne, was
bom at Haarlem in 1665, and entered the Guild
in 1690. He etched landscapes and sea-pieces,
among them twelve views in the environs of
Haarlem, after Pieter Bout. He also etched after
A. van Ostade and T. Wijck. He subsequently
became a publisher at Haarlem, and died in that
city in 1740.
VAN DER VINNB, 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 with
cattle. Bom at Haarlem in 1712, he entered the
Guild in 1735, and died in 1742.
VAN DER VINNE, Jan Laurenszoon, was the
son of Laurens the elder. He was born at Haar-
lem in 1699, and died in 1763. He painted land-
scapes, flowers, &c. He had two sons, Vincent,
{q.v.) and Jan, born 1734, 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 decorating.
Wainscot panels by ■him are occasionally to be
found in old houses. On his return to Haarlem he
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 VINNB, Laurens, the elder, the son
of Vincent Laurenszoon van der Vinne, was born
at Haarlem in 1668, 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
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 Laurenszoon, 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 1652-3 travelled in
Germany, 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,
still-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 neghgent 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, Hbndrik Cornblisz, 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-hght. 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, 1675. The following
are well-known works by him :
Amsterdam. B. Museum. The Old Church of Delft. 1654
„ „ Female portrait.
Berlin. Museum. Interior of a Gothic church.
629
Van der Vliet
A BIOGRAPHICAL DICTIONARY OF
Van der Werff
Copenhagen.
Ghent.
Haarlem.
Hague.
Munich.
Kotterdam.
Museum,
Museum,
Museum,
Finacothek.
Museum,
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.
One HENnRiK Willemsz Van dbb Vliet, who is
inscribed in the Guild at Delft in 1632, is by some
a=;sumed 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 born 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 his 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
Heiiibrandt,
Bust of au old Man, with a turban and aigrette. Bo,
The Head of a 'Warrior. Do.
An old Man with his hands joined, apparently in grief.
1634. Bo. _
Bust of an Oriental Character, with a fur cap. Bo,
An Old Woman reading. (One of his best prints.) Bo.
Woman laughing. Bo,
Lot and his Daughters ; very fine. Bo,
The Baptism of the Eunuch. Bo,
St. Jerome praying in a cavern, with a book and a
crucifix. (His finest print.) Bo.
Jacob obtaining his Father's Blessing instead of Esau ;
aj'ter Lievens.
Susanna and the Elders. Bo,
The Kesurrection of Lazarus. Bo,
An Assembly of Peasants regaling ; after his own design.
The Rat-catcher. Bo.
A set of twenty-two plates of the Arts and Trades. Bo.
The five Senses. Bo.
VAN DER VLIET, Willem, 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 ofLiliis life. He
died in 1642. The National Gallery, the Brussels
Museum, and the Liechtenstein Gallery contain
portraits by him.
VAN DER VOORT, Coenelis, (or Van der
VoBRST,) 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, Miohiel, (or Veevoort,)
an obscure painter and engraver, who flourished
about 1745. His name is affixed to a spirited
etching, representing boys playing with musical
instruments.
630
VAN DER WAL, J., an obscure Dutch painter,
born 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, bora
at Haarlem in 1644. He was a pupil of Adriaen
Van Ostade, and was dean of the Guild of S. Luke
in 1688. He died in 1720.
VAN DER WALL, Willem Eotgaart, bom at
Utrecht in 1766, 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 WEEFF, Adriaan, was born at
Kralinger-Ambacht, near Rotterdam, in 1659.
Having discovered an early disposition for art, he
was placed under the care of Comelis Picolet, a
portrait painter, under whom he remained two years,
after which he worked under Eglon van der Neer.
When he was seventeen years of age he left Van
der Neer, and established himself at Rotterdam.
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 finished, to Diisseldorf. The following year
Van der Werff 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 modelling ; he was also author of the
plans for the Rotterdam Exchange. List of his
more notable and accessible works :
Amsterdam. Museum.
Berlin.
Dresden.
Dublin.
Ediubmrgh.
Glasgow.
jj
Hague.
Museum,
Gallery,
Nat. Gal.
Nat. Gal.
Gallery,
)i
Museum,
London. Bulwich Gal.
„ Buckingham Pal,
Munich. Pinakothek,
Paris. Louvre,
Petersburg. Hermitage.
Rotterdam. Museum,
Vienna. Gallery,
Family Group, with his own
Portrait, and those of Wife
and Daughter.
[A.nd seven others)
Pastoral scene.
The Judgment of Paris.
The Dismissal of Hagar.
{And ten others.)
Portrait of au old lady.
A Burgomaster and his wife.
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 otiters.)
Bathsheba 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
Van der "Weyden
PAINTERS AND ENGRAVERS.
Van der Weyden
painted pictures of his own, ocoasionally 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 Werfif 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, Goswyn, was born at
Brussels in 1465, and was free of the Guild of S.
Luke, at Antwerp, in 1603. He is noted as the
master of numerous apprentices between 1504
and 1513. He is known to have composed a trip-
tych for the church of Tongerloo, representing the
Death, Assumption, and Coronation of the Virgin,
in which he called himself the grandson of Roger,
the Apelles of his age. The triptych was dated
XOoO.
VAN DER WEYDEN, Roger, the younger.
Many pictures are now ascribed to a painter of
this name, who is asserted to have been a grand-
son of Roger Van der Weyden the elder. There
are traces of such a painter in the Antwerp
Guild-book for 1528, but nothing is known of tlie
pictures he may have painted. The National
Gallery catalogue, which puts his name to four
pictures, says he was born at Brussels about 1450,
and died in 1629. The works given to him are
clearly of the most various origin, though some
bear traces of direct affiliation with Roger. Those
in the National Gallery are as follows :
Portraits of himself and wife. (Fine panels, in a style
which seems a development from that of Roger.)
The Magdalen. (School of Tan Bycks.)
Mater Dolorosa. ) "Workshop pictures from Koger the
Boce Homo. j elder's manufactory.
VAN DER WEYDEN, Roger, (Roger of
Bruges, Roger of Brussels, Ruggieko da Brug-
gia. Maestro Rogbl, Roger db la Pasture, &c.),
was bom at Tournai in 1400. He was apprenticed
to an obscure local painter named Robert Campin,
with whom he was at work in 1426. It is probable
that before this he had followed some other trade ;
according to the chronicle of the Carthusians of
Enghien, he was already married when he became
an apprentice. In 1432 he was made ^free of the
Guild at Tournai, and in 1436 we find him painter
in ordinary to the city of Brussels, for in that year
it was resolved, on the 2nd of May, " that after the
death of Master Roger, the office of town-painter
should be suppressed." About this time Roger
painted four pictures for the Hall, of Justice in the
Brussels Town-hall. These have been lost. Their
subjects were : ' The Justice of Trojan,' ' Gregory
the Grejt receiving the head of Trojan,' 'The
Justice of Judge Herkenbald,' ' The Miraculous
Communion of Herkenbald.' Roger's designs are
preserved in a set of tapestries in Berne cathedral.
As early as 1449, Cyriacus noticed Roger as second
only to Jan Van Eyck ; and a few years later
Facio spoke of the same master as Van Eyok's
pupil. This error was copied by Vasari, and by
subsequent writers down to our own time. At
last, however, more careful criticism and increased
industry in the tracing out of facts, have shown
that the two men were at the head of two difierent
art movements, and that while Van Eyck was
gifted with the finer individuality, Roger exercised
a profounder influence on contemporaries and suc-
cessors. The earliest pictures by Roger of which
the approximate dates are known, are those which
compose the triptych from the Charterhouse of
Miraflores, near Burgos, now in the Berlin Museum.
They were given to the Monastery by John II. of
Spain, in 1445, and are described in its books as
" by the great and fiimons Fleming Magistro
Rogel." About this time Roger kept a regular
hottega for all kinds of painter's work at Brussels.
In 1439, Philip the Good ordered some carved work
for the R6oollets church, at Brussels, which Roger
coloured "for the sum of forty ridders of fifty gros
of Flanders." He also painted the arms of the Duke
and Duchess on the doors for six livres. Shortly
before 1450, Roger had finished the great altar-
piece in the hospital of Beaune, a commission from
Rollin, the Chancellor of Burgundy. About the
same time he painted for the Flemish family of
Bracque the triptych now belonging to the Duke
of Westminster. In 1449 Roger visited Italy,
proceeding, perhaps, by way of Milan, to Ferrara;
and thence, perhaps, through Florence, to Rome.
Either in Florence or Rome, which he reached in
1450, he painted for Cosmo de' Medici, ' The
Madonna with SS. Peter, John, Cosmus, and
Damianus,' now at Frankfort. Other pictures he
finished in Italy — a 'Madonna meeting Christ on
the road to Calvary,' which found its way to
Naples ; a ' Woman bathing,' which Facio saw at
Genoa — and yet, on his return to Flanders, he set
himself to carry out the many commissions with
which he was welcomed in exactly the style he
carried away with him. Among his patrons on
his return were Pierre Bladelin, treasurer of the
Golden Fleece and founder of Middelburg in
Flanders, for whom he painted the altar-piece
which has migrated from Middelburg church to
the Berlin Museum ; and Jean Robert, abbot of S.
Aubert of Cambrai, for whom he painted an altar-
piece identical, perhaps, with one in the Madrid
Gallery, but uncatalogued. Van der Weyden never
signed or dated any of his pictures, and so their
authorship and chronological order is generally a
matter of internal evidence. The list of pictures
given below excludes those numerous works
ascribed to him which are unworthy of his
reputation. Roger was married, perhaps about
1424, to Elizabeth Goffaerts, a lady of his own
rank in life. He was of independent means,
having money out at interest at Tournai and in
the "domaine de Brabant." He had four children —
Cornelius ; Margaret, born at Tournai in 1432, died
1450 ; Peter, born at Brussels in 1437 ; John, born
at Brussels in 1438, died 1468. For the last twenty
years of his life Roger owned a house at the corner
of the Montague de la Cour, which remained in his
family down at least to 1511. That he was an
excellent citizen appears from many fragments of
evidence. Lampsonius belauded him. He endowed
the monastery of H^rinnes with four hundred
crowns, and was equally liberal to the Carthusians
of Scheut. In 1462 he was affiliated to the brother-
hood of the Holy Cross, in the church of Cauden-
berg, by Brussels, Van der Weyden died at
Brussels on the 16th June, 1464, and was buried
in the nave of S. Gudule. There, many years
later, his wife was also interred, but she was still
living in 1477.
Antwerp.
Beaune.
Berlin.
Museum.,
Hospital.
Jtfusmm.
The Seven Sacraments.
Altar-piece: The Last Judg-
ment.
Triptych (Holy Family; Pieta;
Christ appearing to Mary).
631
Van der Willingen
A BIOGRAPHICAL DICTIONARY OF
Vanni
Berlin.
Museum.
Dresden.
Gallery.
Florence. Vffizi.
Frankfort. Stddel Inst.
Hague. Museum.
Liverpool. R. Institution.
London. Nat. Gallery.
„ Grosvenor House.
Louvain.
S. Pierre.
Madrid.
Escorial.
Gallery
From the Charterhouse of
Miraflores, near Burgos.
Triptych (Birth of John the
Baptist ; Baptism of Christ ;
Beheading of John the Bap-
tist).
Triptych (the Tiburtine Sibyl ;
Virgin and Child, the donor
adoring; the Star of Beth-
lehem).
Christ on the Cross, with Mary,
John, and the Magdalen. (?)
The Entombment.
The Virgin enthroned.
? Scenes from the life of John
the Baptist.
The Descent from the Cross.
{? scliool of K. V. d. "W.)
Triptych (the Impenitent
Thief ; the Descent from the
Cross ; the Penitent Thief).
The Entombment (unfinished).
Triptych. The Saviour with the
ball and cross, as Ruler of the
"World; theVirgin with John
the Baptist ; S. John the
Evangelist with the Magdalen.
The Descent from the Cross.
("Which of these three should
be considered the original is
matter of dispute. The
example at Louvain is
smaller than the others.)
A Crucifixion, with the seven
sacraments. (From the Mon-
astery of Los Angeles, Ma-
drid ; not in the catalogue.
See G. F. "Waagen's 'Ueber
iu Spanien vorhandene Bil-
der,' in the ' Jahrbiicher f iir
Kunstwissenschaf t' for 1868.)
The Crucifixion. (?)
The Marriage of the Virgin. (?)
S. Luke painting the Virgin.
Triptych (Adoration of the
Magi ; the Annunciation ; the
Presentation in the Temple).
The Virgin and Child. (?) The
picture in the Casa Vendra-
mini, mentioned by the
Anonimo.
Triptych (The Crucifixion ; S.
Veronica ; the Magdalen).
S. Catharine. (?) "W.A.
VAN DER WILLINGEN, Pieter, was 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 Ant-werp, and died
in 1694. His brother and pupil, Jan, also worked
at Antwerp, and died there in 1693.
VAN DER WILT, Thomas, a Dutch painter
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 WOESTINE, Roger, a Flemish
painter of the 15th century, identical with Rogier
DB Brdesle, or Roegebe van Bruesele, who was
632
Munich.
Vienna.
Gallery.
»
Gallery.
formerly confused with Roger van der Weyden.
It has been ascertained that he was made free of
the Guild at Ghent in 1414, but none of his works
can be pointed to.
VANDI, Sante, an Italian portrait painter, born
in 1653. He was a pupil of Cignani. In early life
he painted at Bologna, but was afterwards era-
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. Fort. Gall. Portrait of Coleridge.
„ „ „ Southey.
VANGBLISTI, Vincbnzio, an Italian engraver,
vras born at Florence about 1740. He visited
Paris when young, where he became a pupil of
Ig. Hugford and Johann Georg Wille. Leopold
II. invited him 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 them, Longhi, who succeeded him, and F.
Anderloni. His masterpiece is the ' Pyramus and
Thisbe,' from a picture attributed to Guido, but in
reality by De la Hire. The following plates are
also by him :
Aimand de Bourbon, Prince de CondS.
Georges Louis, Comte de Buffon ; after A. de Pujol.
Satyr and Nymph ; after Van Loo.
The Virgin and Child ; after Raphael.
Vpnus chastising Cupid ; after Agost. Carraeci.
VANLOO. See Loo.
VANMANDER. See Mander.
VANNI, Andrea, was born at Siena in 1332,
and in conjunction with Bartolo di maestro Fredi,
began to paint iu 1353. He seems to have been
of some consideration in his native city, having
been elected a member of the Great Council in
1370, Gonfaloniere in 1371, sent as Envoy to the
Pope at A"vignon in 1372, on a mission to Florence
in 1373, and again as Envoy to the Pope, at
Naples, in 1384. Many examples exist of his
paintings between 1353 and 1414 in Naples and
its vicinity. At the chapel of St. Catherine of
Siena, in the church of San Domenico, Naples,
can be found the remains of a fresco painted
by him to commemorate the life of that saint,
who was a correspondent and perhaps a relation
of his own. About the year 1400, he painted her
portrait with scenes from the life of St» James, in
a chapel in San Jacomo Interciso, but these works
have now disappeared. He also decorated three
chapels in the cathedral of Siena ; finished other
work on its fa9ade in 1380 ; and in 1398 painted
an ' Annunciation ' for the same building. He
died about 1414. The church of San Stefano, and
the Academy of Siena, also possess examples of
this artist.
VANNI, Cavaliere "Francesco, was born at-
Siena in 1565, and was taught the rudiments of
Vanni
PAINTERS AND ENGEAVERS.
Vannucoi
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, entering the
school of Giovanni de' Vecchi, studying also under
such men ^s Baroocio, 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 Vallioella ;
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 :
Dresden. Oalleiy. Holy Family.
Florence. Pal. Pitti. S. Francis in Ecstasy.
„ Uffizi. Joseph made known to his
Brethren.
Genoa. Pal. Spinola. S. Catharine of Siena.
Madrid. Museum. The three Marys.
Modena. Gallery. Marriage of S. Catharine,
Paris. Louvre. The Eepose in Egypt.
„ „ Martyrdom of S. Irene.
Rome. Pal. Quirinale. Death of S. Cecilia.
Siena. S. Quirico. The Flight 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 Empoli, Aurelio Lomi, and Matteo Eoselli,
and then became a disciple of Cristoforo Allori.
Of his works as a painter, the moat 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 Correygio'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 artist living in the
14th century, whose name first appears on the
Guild in 1355. He was a miniaturist, and painted
for the Spedale in 1344. In 1352 he executed a
'Coronation of the Virgin,' for the Bicoherna.
In 1359 he, together with Nello Betti, executed
some work in the Palazzo Pubblico, and in 1372
he painted an ' Annunciation,' in the cloisters of San
Domenico at Siena, portions of which work still
exist. The latest fact recorded of him is that in
1375 he received six gold florins and thirty-one
soldi for painting the doors of the great crucifix
in the cathedral of Siena. The dates of bis birth
and death are unknown.
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 Campo Santo. He is conjectured
to be identical with Bernardo Nello di Giovanni
Falcone, q. v.
VANNI, Raffaello, a son of Francesco Vanni,
was born at Siena in 1596, and received his first
instruction from his father, whom he lost, however,
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
1665, and died probably in 1667. 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, Turing, 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 TnRiNDS Vannis db Rbgdli depinxix
A.D. Mcccxcvii. MADii. He has also left :
Palermo. Convent of S. 1 Madonna with Angels and
Martina, j Saints.
Paris. Louvre. Madonna (signed Tvrinvs Van-
NIIS DB PiSTS ME PIQSIT).
VANNINI, Ottavio, born at Florence in 1585,
was first a disciple of Giovanni Battista Mercati,
but ufterwards 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. Zj^si. Tancred and Erminia.
„ Pal. Pitti. Ecce Homo.
Pisa. S. Anna. The Communion of St. Jerome.
VANNO, Nello. See Vanni.
VANNUCCI, PlETRO, commonly called Pir/rRO
Perdgino, was born in 1446, at Citta della Pieve.
It is not known for certain who his first Dmbrian
master was, but it was probably either Benedetto
Buonfigli or Piorenzo di Lorenzo. It is known
that be acted as assistant to Piero della Francesca,
at Arezzo, and that about the year 1476 he was
a fellow-student with Leonardo da Vinci and
Lorenzo di Credi, in the studio of Verrochio, at
Florence. To this time Giovanni Santi refers in
his rhymed chronicle, in which he calls Perugino,
'Pier della Pieve.' The earliest important com-
missions intrusted to Perugino were those for
frescoes in the upper hall of the Palazzo Comunale
at Perugia, painted in 1475, and in a chapel at
Cerqueto, painted in 1478. All these have now
perished, so it is probable that the oldest existing
examples of his monumental art are the frescoes in
the Sistine Chapel at Rome. On these he began to
work about 1480. If we may accept the Com.
Morelli's opinion, only one now remains, the'
' Charge' to Peter.' Three of the original five men-
tioned by Vasari were removed to make room for
Michelangelo's ' Last Judgment,' while the fourth,
the ' Baptism of Christ,' as well as a sixth picture,
the ' Journey of Moses,' of which Vasari says
nothing, but which was long assigned to Perugino,
Morelli ascribes to Pinturicchio. IDuring Perugino's
intermittent stay, extending over some ten years
altogether, in Rome, he was also employed in the
Vatican ' Stanze,' but his pictures there were re-
moved, with a few unimportant exceptions, to
make way for the frescoes of his pupil, Raphael.
The money he had earned in Rome was not paid
to him in full until 1491. Between 1482 and 1493
he was often in Florence. In the latter year he
633
Vannucci
A BIOGBAPHICAL DICTIONARY OF
Varella
married one Chiara Fancelli, a native of Mantua,
and in 1496 he bought a site for a house ; but,
although he settled in Florence, he kept up his
rights in Perugia, and perhaps a studio, for it was
in the last years of the 15th century that he re-
ceived the boy llaphael as a pupil. The exact
date, which is a matter of dispute, is not of vital
importance in the story of Peragino's career. In
his early practice Perugino used tempera in easel
pictures ; then came a period of experiment,
followed by one in which he used the oil method
with complete comprehension and mastery. It
has been suggested that the secret, so far as it was
one, had been communicated to him by Antonello
da Messina, who was established in the latter years
of the century at Venice, where, as we know from
documentary evidence, Perugino was for a time in
1494. In 1493 he had not yet mastered the oil
process. In the UfiBzi there is a male portrait by
him which recent investigation has proved to be
that of a Florentine, Francesco delle Opere, who
died in Venice in 1496. It is painted in oil, with
complete skill, and therefore strengthens our belief
that Perugino finally learnt the method in Venice,
about 1494. Between 1496 and 1499 he painted
several altar-pieces, and, among other frescoes,
that of the ' Crucifixion,' which still exists in the
Chapter-house of S. Maria Maddalena dei Pazzi.
In 1500 he finished the frescoes in the Cambio, at
Perugia ; the ' Assumption,' for the convent of
Vallombrosa, and the ' Marriage of the Virgin,' now
at Caen. In 1505 he painted the ' Triumph of
Chastity,' now in the Louvre, for the Marchese
Isabella of Mantua, and in these latter years paid
a second visit to Eorae, painting in the Stanze,
where one of his ceilings, that in the Camera del'
Incendio, was preserved by the good feeling of his
pupil, Baphael. Between 1515 and 1523 he was
chiefly engaged on minor works for provincial
patrons, among them the ' St. Sebastian ' and the
' Transfiguration,' both in the Bologna Gallery, and
a ' Nativity,' now in the South Kensington Museum,
which was painted for the church at Fontignano,
near Perugia, and is probably the last work he
touched. Perugino died at Fontignano in 1523.
Among his pupils were Eaphael, Giovanni di
Pietro, called Lo Spagna, Eusebio di San Giorgio,
and Pinturicchio. Besides the works already
mentioned, we may enumerate the following
pictures by Perugino :
Bologna. Gallery. Madonna among Angels and
Saints.
Oaen. Museum. Marriage of the Virgin.
Pieve 1 ^' ^'"'^"'^ Adoration of the Kings.
,1 Suomo. Madonna with Saints and An-
gels.
Cremona. S. Agostiiio. Madonna and Saints.
Fano. S. Maria Nuova. Madonna and Saints.
Florence. 8. Maria\„, c^ .,, ■ ,, s
Maidahna.]^^^ Crucifixion (Jresco).
„ Accademia. Christ on the Mount of Olives.
>, „ The Crucifixion.
„ „ A Pieta.
I, „ Assumption of the Virgin.
%• „ Portraits of two Monks.
» Vffizi. Madonna between S. John the
Baptist and S. Sebastian.
>. „ Portrait of himself.
„ I'al. Pitti. Pieta.
" ), Madonna adoring the Infant
Christ.
London. National Gall. The Virgin adoring the Infant
Christ, betwefin SS. Michael
and Raphael {triptych).
London. National Gall. The Virgin between SS. Jerome
and Francis.
„ „ Virgin and Child.
Lyons. Museum. The Ascension.
Marseilles. „ The Family of the Virgin.
Munich. Pinakothek. The Virgin between SS. Nicho-
las and John the Evangelist.
Nancy. Museum. Holy Family with S. John.
Naples. Duomo. An Assumption, with Cardinal
Caraffa and several Saints.
„ Museum. Adoration of the Kings.
Paris. Z(mvre. A Holy Family.
„ „ ? Apollo and Marsyas (ascribed
to Kaphael).
Perugia. Gallery. Martyrdom of S. Sebastian.
„ „ The Nativity.
„ „ The Coronation of the Virgin.
„ „ The Baptism of Christ.
„ „ Adoration of the Magi.
„ „ Enthroned Madonna.
Kome. Vatican Gallery. The Resurrection.
» „ Madonna and four Saints,
„ Villa Albani. The Nativity.
„ Pal. Sciarra- ) c* . . « i . .
Spello. S. Maria Mag-
Vienna.
gieJe.]^'^^^^^""'<>)-
„ Madonna and Saints.
Gallery. Madonna and Saints.
W.A.
VANNUCCHI. See Andeea d'Agnolo.
VANSOMER. See Somer.
VANTE. See Attavante.
VANDDEN. See Uden.
VANVITELLI, (or Vanvitel). See Wittel.
VANZO, Jacopo da. See Avanzi.
VAPRIO, Agostino da, was living in Pavia in the
15th century, and was one of the artists employed
by Ludovico Sforza, in Milan, in 1490. He is the
author of an altar-piece in San Rimo, Pavia, a
Virgin and Child, with Saints and donor, dated
1499.
VAPRIO, Constantino, a Milanese painter, who
flourished about 1460, is commended by Lomazzo
as one of the first Italians to give due attention to
perspective.
VARALLO, Tanzio di. See Tanzio.
VARANA. See Guabana.
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, Oscae, painter, was born at
Rome of French parents in 1820. He was a pupil
of Paul Delaroche, and worked in Paris, where he
gained a medal of the third class in 1846, and
where he died in the same year.
VARDV, 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 Cornelia 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 Butch or Flemish writers,
and, from his name, it may be conjectured that he
was of French origin.
VARELLA, Francisco, a Spanish painter, was
born probably at Seville, about the 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
Varenne
PAINTERS AND ENGRAVERS.
Varin
pictures painted by Gaudin for the Grande 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 1656.
VARENNE, DB, 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, Chakles Santoike de, painter, was
born 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 DoBOTHiE, born in Paris
about 1804, painted flowers and miniatures, and
was a pupil of Redouts.
VARGAS, Andres de, was born at Cuenoa in
1613, and went while young to Madrid, where he
studied under Francisco Camilo. 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 1602. 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, 1555, Bermudez found
in the records of the chapter, and the picture is
inscribed Tunc diseebam 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
1563-8. 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 for the Casa de la
Misericordia, is a wreck. The same fate has be-
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 1668.
, Luis de Vargas was mild, benevolent, and charit-
able, suffering with patience the attacks and injuries
of his rivals. In his house he 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 instruments of mortifica-
tion, and even a cofSn 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
VARIN, Chakles Nicolas, draughtsman and
engraver, was born at Chllons-sur-Marne in 1741.
He was the son of Jean Baptistb 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 Ch&lons musee. He eventually
settled in Paris, and worked in conjunction with
his 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 the costume plates for the ' Tab-
leau de I'Empire Ottoman,' by D'Ohosson Mouradja,
published in 1787. Varin died at Ch9,lons, 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 Ch&lons-sur-Marue in
1740. He studied under P. Q. Chedel and the
Chev. de la Touche, at Chilons, 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 Burgundy. In both
of these he 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 furnished 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, Judsea, 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,
September 7th, 1800. Charles and Joseph Varin
claimed descent from Jean Varin, the medallist.
VARIN, Joseph, the younger, draughtsman,
engraver, and lithographer, born at Chftlons-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 his native town,
but in 1820 came to Paris to study lithography
under Chasteau. Finally settling at Ch&lons, he
died there June 6th, 1843. 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.
636
Varin
A BIOGRAPHICAL DICTIONARY OP
Varotari
VARIN, Pierre Amad^b, engraver and painter,
the son of Joseph Varin the younger, was born at
Ch§,lons-sur-Marne in 1818. He was a pupil of
Monvoisin, and worlied in conjunction with his two
brothers, Piereb Adlophb and Eugene 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, QuENTlN, a French painter of the early
17th century, born at Beauvais, is now remembered
chiefly as the first master 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 dangers 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 Audelys 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
brother of John Varley, was bom at Hackney,
November 21st, 1781. He was only ten years old
at the death of his father, and was adopted by an
uncle, a manufacturer of scientific instruments
and apparatus. In his new home the boy
acquired some knowledge 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. He never, however, lost his interest in scien-
tific pursuits, and later on made some considerable
improvements in optical instruments, for which he
received the ' Isis ' gold medal of the Society of
Arts ; for his invention of the graphic telescope he
also received a gold medal at the Exhibition of
1851, and was an active member of the Society of
Arts. He first exhibited at the Royal Academy
in 1803, but he was not a frequent contributor.
He was, however, a foundation member and a
zealous supporter of the Water-Colour Society.
His pictures were chiefly classical landscapes, with
groups of figures and architecture. He was a
member of the Sketching Club, and had a good
practice in London as a teacher of drawing. He
died at Highbury, October 2, 1873. Among his
best works we may name :
A Mountain Pastoral. 1809.
The Sleeping Shepherd. ISIO.
Evening. 1811.
Paljemon and Laviuia. 1811.
View of Ardfort, Ireland. 1815.
After Sunset, North Wales. 1803. {South Kensington
Museum.)
Euius of Troy. 1819.
The Vale of Tempe. 1820.
VARLEY, John, an English landscape painter in
water-colour, was born at Hackney in 1778. Owing
to his father's objection to art he was placed with
a silversmith, but on his parents' early death he
obtained more congenial employment with a por-
trait painter. His true vocation was found with
an architectural draughtsman, whom he accom-
panied in visits to various parts of England. In
1798 he first appeared at the Royal Academy with
a 'View of Peterborough Cathedral.' He owed
much to the group of painters which met at Dr.
Monro's, where the foundation of the true English
water-colour school was laid. Varley was one
of the original members of the old Water-Colour
636
Society on its foundation in 1804, and he regularly
contributed to its exhibitions. Though he worked
assiduously with the brush, and had a good teaching
connection, he did not secure himself a competence,
and his later years were disturbed by pecuniary
difficulties. He died in 1842. His works belong
entirely to what may be called the middle period
of the water-colour school, between the abandon-
ment of the reed pen and the full development of
the art. Works:
Beddgelert Bridge. 1800. [South Kensington Museum.)
Pass of Llanberis. 1803. (Do.)
High Street, Conway. [JDo.)
Eiver Scene. 1840. [Do.)
BoHoD Abbey. 1842. (Do)
Pond at "W"otton, near Dorking. (Do.)
Frognal, Hampstead. 1826. (Do.)
Illustration to ' The Bride of Abydos.' (Do.)
Burial of Saul. (Do.)
(And twenty-six others.)
VARLEY, William Fleetwood, water-colour
painter, was born 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 Gornvfall, at
Bath, 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 Museum.)
S. Michael's Mount, Cornwall. (Do.)
(And three others.)
VAROTARI, Alessandro, called II Padovanino,
was the son of the elder Dario Varotari, and born
at Padua in 1590. His father dying when he was
only six years of age, he was instructed in art by
some painter unknown. He was sent to Venice
when he was very young, where his talents pro-
cured him the pet name of ' II Padovanino.' At
Venice he studied the works of Titian, and entered
so entirely into his manner, that he was considered
one of his most successful followers. If his design
had been equal to his colour, few painters of the
Venetian school would have surpassed him. He
generally selected subjects which admitted the
introduction of the nude, in which he was as suc-
cessful in the beauty of his carnations as deficient
in design. With children and landscapes he was
especially successful. He died in 1650. Among
his best extant works are mentioned the following:
Bergamo. S. Andrea. Ceiling.
Dresden. Gallery. Judith with the Head of Holo-
fernes.
Florence. Uffizi. Lucretia.
London. Nat. Gallery. Cornelia and her children.
,. „ Boy and Bird (? after Titian).
Paris. Louvre. Venus and Cupid.
Borne. Pal. Borghese. The Toilet of Venus.
Venice. Carmine. Miracle of St. Liberate.
„ S. M. di Salute. Madonna.
„ S. Mark^s Library. Astrology.
„ aS. lomd,. Altar-piece.
„ Academy. The Marriage at Cana.
„ „ The Rape of Proserpine.
„ „ The Descent of the Holy Spirit.
Vienna. Gallery. Holy Family.
„ „ The Woman taken in Adultery.
„ „ Judith.
VAROTARI, Chiara, was the daughter of Dario
Varotari the elder, and flourished at Venice in the
middle of the 17th century. She was instructed
by her father, and is celebrated by Ridolfi and by
Varotari
PAINTERS AND ENGRAVERS.
Vasoo Pereira
Boschini for her talent as a portrait painter. The
Ufiizi has her own portrait painted by herself.
She was still living in 1660. She was a poetess, -
and the author of an ' Apology for the Female Sex.'
VAROTARI, Dario, the elder, a painter, sculp-
tor, and architect, was born at Verona about 1639,
and was descended from a Strasburg or Augsburg
family of the name of ' Weyrotter.' He was a
scholar of Paolo Veronese, and an imitator of
Titian, particularly in the airs of his heads. His
chief residence was at Padua, and some of his
principal works are in the church of Sant' Egidio
in that city. He died in 1596. The Venice Academy
contains a ' Visitation of St. Elisabeth ' by him.
VAROTARI, Dabio, the younger, was the grand-
son of the elder painter of the name, and son of
Alessandro Varotari. He flourished about the
year 1660, and was painter, engraver, poet, and
physician. Though his pictures cannot now be
identified, his portraits were very popular in their
time. Bartsch describes two portraits engraved
by him ; one of his grandfather, Dario Varotari,
the other of Vinoentius Gussonus, Eq., both signed
with his name. He painted rather as an amateur
than for gain.
VASARI, Giorgio, painter, architect, and writer,
was bom at Arezzo, July 30, 1611. He is said to
have received his first instruction in design from a
glass painter, named Guglielmo da Marcilla, but he
was studying in Florence, first under Michelangelo,
afterwards under Andrea del Sarto. During the
siege of Florence, in 1529, Vasari moved succes-
sively to Pisa, Bologna, and back to Arezzo, where
he made the acquaintance of Salviati, who gave
him valuable assistance .and advice. About this
time he was brought to Rome by Cardinal Ippolito
de' Medici, who had taken him under his protection,
and by whose family he was afterwards loaded
with riches and honours. In Rome he worked
hard from the antique, from the works of Michel-
angelo, in the Sistine chapel, the frescoes of
Raphael and Baldassare Peruzzi. Having acquired
some reputation as a painter, he set himself to
study architecture. He was employed as a painter
in the Sala Regia ; in the Sal a della Cancellaria,
where he painted, by the direction of Cardinal
Farnese, a series of frescoes, representing the
principal actions of Pope Paul III. ; and in the
church of S. Giovanni DecoUato he painted the
Martyrdom of that Saint, one of his best oil pic-
tures. From Rome Vasari came to Florence, and
entered the service of Alessandro and Ottaviano
de' Medici. After the murder of Alessandro, he
retired to Arezzo, but in 1553 he was invited to
Florence, by Cosimo I., who employed him to
superintend the works on which he was then en-
gaged in the Palazzo Vecchio. Here, in the apart-
ment of Clement VII., he painted that Pope crown-
ing the Emperor Charles V. ; and other events in
his life. Vasari died at Florence, June 27, 1574.
He had much facility as a draughtsman, but his
compositions are mannered and without originality,
and his colouring is cold and hfeless. He is at his
best in his few portraits. Vasari is vastly more
famous as a writer than as a painter. His great
work is the history of artists, from the period
of Cimabue till his own time, entitled ' Vite de piii
eccellenti Pittori, Scultori, e Arohitetti,' first pub-
lished at Florence in two volumes in 1650, and
republislied with large additions and portraits, in
three volumes, in 1568, and again in 1648. A
fourth edition, published at Rome in 1749, was
annotated by the learned priest, Giov. Bottari.
Numerous later editions have appeared ; the most
valuable are: (1) that published by Passigli, at
Florence, in 1832-38 ; it was edited by Montani of
Cremona, and, on his decease, by Giovanni Maselli.
(2) That published by Le Monnier, at Florence,
between 1845 and 1856, and edited by a society of
learned Italians. (3) The latest, most elaborate,
and most trustworthy, the edition published by
Sansoni, at Florence, in 1878 — 1885, edited and
annotated by Gaetano Milanesi. There are also
excellent translations into English and German,
besides a very poor one into French. Vasari's
pictures are very numerous in Italy ; the following
may be named :
The Banquet of Ahasuerus.
VirgiQ and Saints.
Portrait of Cosmo I. {one of
viaay repetitions) .
The Supper of S. Gregory.
Christ with Martha and Mary.
Christ bearing His Cross.
The Last Supper.
Crucifixion.
S. Luke painting the Virgin.
Vision of Count Hugo.
Birth of the Virgin.
His own Portrait.
Portraits of Lorenzo and Ales-
sandro de' Medici.
Holy Family.
SS. Peter, Paul, and Jerome.
The Conception.
The Nativity.
The Presentation in the Temple.
The Annunciation.
Conversion of S. Paul.
The Resurrection of Christ.
Holy Family.
„ „ Christ clearing the Temple.
VASARI, Lazzako, great-grandfather of the
historian Vasari, 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 figures 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
Saseali for the ' Madonna ' and ' Resurrection ' win-
dows in the Madonna delle Grazie, Perugia.
Lazzaro died in 1460. His son GlOEQIO, 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-
CELLINI,) 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 Paucci
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.
Danielle Eicciarelli da Volterra.
Cosimo I. ; after the statue Iry Qiovanni da Bologna.
S. Joseph and S. Francis of Paula ; after Seh. Conca.
The penitent Magdalene ; after F. Furini.
Venus ; after Titian.
Danae ; after the same.
The Last Supper ; after L. Signorelli.
VASCIBRAGCI. See Vassilacchi.
VASCO, Gran. See Fernandez.
VASCO PEREIRA. See Peeeira.
637
Arez
!0.
Academy.
„
Finacoteca.
Berlin.
Museum.
Bologna.
Finacoteca.
Florence.
S. Croce.
, S. Maria Novella.
J
S. Annunziata.
Academy.
'
Uffid.
,,
Pitti.
Liverpoo
B. Inst.
Lucca.
Ch. de Carmine.
Naples.
Cathedral.
^
Museum.
Paris.
Louvre.
Rome.
S. Fietro in )
Montorio. j
Siena.
Academy.
Vien
ua.
Gallery.
Vasconi
A BIOGEAPHICAIi DICTIONARY OF
Vauroze
VASCONI, FiLlPPO, who flourished about the
year 1720, engraved several views of Venice and
its neighbourhood.
VASI, Giuseppe, Cavaliere, designer and en-
graver, was bom 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-
diet 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 Farnese 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.
VASQUEZ. 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 Vasseub.
VASSILACCHI, Antonio, (or Vascibhacci,)
called L'Alibnse, 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 Henry 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. An 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 apphed 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.
I VAOCHELET, Th)bophile Auquste, a French
historical and portrait painter, was born at Passy
in 1802. He entered the ificole 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 1830 to 1868, and he
won all the orthodox honours up to the Legion of
638
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 de Ville. He died in 1873. Amongst his
easel pictures are :
Amiens. Museum. Christian Charity.
Versailles. Palace. The Sarreader of Magdeburg.
„ ,, Portrait of Prince Poniatowsld.
„ „ „ Marshal Gouvion
St. Cyr.
„ „ „ Due de Choiseul-
Stainville, &c. &o.
VAUDECHAMP, Jean Joseph, painter, born at
Eambervillers (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
art. He engraved a plate in Dugdale's ' Warwick-
shire,' and some of the maps ; the prints for Mor-
ton's ' Ordinal,' and some of those for Ashmole's
'TheatrUm 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.
Launcelot Andrews, Bishop of Winchester.
Sir John Wynn of Gwedyr, Bart.
George Clifford, Earl of Cumberland.
John Fisher, Bishop of Rochester.
Arthur Hildesham, Preacher at Ashby-de-la-Zouch.
Sir Francis Drake. | Sir 'Walter Ealeigh.
Sir Thomas Lyttleton, Chief Justice of the King's Bench.
Thomas "Wilsford, Mathematician.
Edward Terry, Eector of Greenford, Middlesex. 1655.
(His latest known work.)
Henry and Bobert Vere, both Earls of Oxford.
Thomas Wentworth, 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 foho
pamphlet describing the 'Sufferings of Sir William
Dick, of Braid,' are known. He also 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.
Barlow, and engraved by William Vaughan);'
1664.
VAULOT, Claude, 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 by profession. He engraved,
from his own designs, several plates of flowers and
ornamental foliage, for a ' Livre des Fleurs propres
pour oiffevres et graveurs.'
VAUROZE. See Feiquet.
Vauthier
PAINTERS AND ENGRAVERS.
Veoelli
VAUTHIER, 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 Boole des Beaux Arts in 1801.
He exhibited a few pictures at the Salon, but was
best known by his drawings for various publica-
tions on classic art. He died of cholera in Paris
in 1832.
His brother, Antoine Charles, a natural history
draughtsman', bom 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 cr^pusculaires de France,'
published by Cr^vot.
VAUZELLB, 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,) Zoan Andrea,
(or Giovanni Andrea,) an Italian engraver, over
whom there is a standing controversy. It seems
now to be established that he was identical with
the Venetian Zoan Andrea, who appears in the first
volume under the title Andrea, Zoan. Of his life,
all that can be stated for certain is that at a period
not exactly known he was in Mantua, involved in a
dispute. between Andrea Mantegna and one Simone
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. As to his after career, we know that in
the first years of the 16th century, a wood-engraver,
or at least publisher of wood-cuts, was flourishing
at Venice, many of whose prints bear the following
inscription, or some variant of it: Giovanni
Andrea Vavassori detto Guadagnino. We
know, too, that this inscription occurs as late as
1566, suggesting that either the name had become
a sort of trade-mark, or that Vavassori and the
employer of the annexed monogram, i. e. Zoan
Andrea, "^^"^ .A? were not identical after all.
This latter contention has been revived by Herr
Kolloff, in the new edition of the 'Kiinstler-
Lexicon,' but so far it has made few converts.
The monogram appears on about sixty Italian
prints. In the Berlin Print-Room there is a print
inscribed : In Venetia per Znan Andrea Vadag-
nino di Vauasor. Vavassori was the author of the
only known Italian block-book, a series of wood-
cuts from the Passion, with lines of text at the
bottom of each, and the title 'Opera Nuova Con-
templativa.' The date is 1516. The British
Museum has an unique impression from a fine
print by Vavassori of the Doge's barge, the
Bucentaur, making its way in procession down
a Venetian canal. (See Fisher's ' Introduction to
a Catalogue of the early Italian prints in the
British Museum,' pp. 201-215 ; and Lippraann's
•Wood Engraving in Italy,' [London, 1888]
passim.)
VAYEMBOURG, Jean de, who flourished at
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 family at Turin. He was invited to remain
at the court, but declined. He died in 1738.
VAZQUEZ, , a Portu.guese 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 Andalusia. The
latter was inscribed : Vazquez I/usitanus tunc
incipiebam anno 1562.
VAZQUEZ, Alonso, (or Vasquez,) painter, was
born at Ronda, Andalusia, in the latter part of the
16th century, and was educated at Seville, under
Antonio Arfian. He painted history, and was a
contemporary and rival of Francisco Paoheoo. 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 Bautista, 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 born at Pavia in 1727, and died
in 1768. He was an excellent decorative painter,
but nothing is known of his life.
VEAU, Jean lb. See Levbau.
VECCHI, Giov. del See Dei Vecchi.
VECCHIA, P. BELLA. See Della Vecchia.
VECCHIBTTA. See Lorenzo di Pietro.
VECCHIO, IL, DI San Bernardo. See Min-
ZOCCHI.
VECCHIO, Palma. See Palma.
VEOELLI, Cbsarb, cousin of Titian, was born
at Cadore about 1530. He was both painter and
engraver. He accompanied Titian to Augsburg in
1548, and seems to have worked as his assistant.
Many of Cesare's pictures are no doubt ascribed to
Titian. In the Milan Pinacoteca there is a small
'Trinity' by Cesare. He died at Venice about
1606. It has now been established that the
woodcuts for ' De gli Habiti Antichi e Moderni,'
fnough so long attributed to Cesare, were not
executed by him, but by Christopher Chriegher of
Nuremberg. His brother, Fabrizio, a painter of
Cadore, was little known beyond his native place,
for the Council-hall of which he is said to have
painted a fine picture. He died in 1580.
VBCBLLI, Peancesco, was the brother of Titian,
and was born at Cadore, perhaps about 1483.
After studying the elements of art under his
brother, he served some years in the array, and
was probably induced to take finally to painting
by the extraordinary success of Titian. He painted
some pictures for the Venetian churches which
possessed sufficient merit to alarm the jealousy
of Titian, particularly a 'Transfiguration,' for
S. Salvatore. But his best performance is a
' Nativity,' in the church of S. Giuseppe, at Bel-
luno. By the persuasion of Titian, he is said to
have abandoned painting in 1531, to devote himself
to commercial pursuits. Works :
639
Vecelli
A BIOGRAPHICAL DICTIONARY OF
Vecelli
Berlin. Museum. Virgin Enthroned, with SS. Peter
and Jerome.
Dresden. Gallery. Ecce Homo,
Venice. Academy. The Annunciation.
VECELLI, Marco, called Marco di Tiziano,
was born at Venice in 1545. He was the nephew
of Titian, and accompanied his diatinguished unole
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
Donate before the Virgin and Infant Christ.' He
also painted for churches at Venice, Trevigi, and
in the Priuli, among other things a ' Christ ful-
minating the world, and the Virgin and several
Saints interceding,' in S.S. Giovanni e Paolo, at
Venice. He died in 1611.
VECELLI, Orazio, the son and pupil of Titian,
was born at Venice about 1528. He distinguished
himself as a painter of portraits, some of wliich
were thought little inferior to those of his father.
He occasionally painted historical subjects ; one of
the most important was destroj'ed in the confla-
gration in the ducal palace at Venice. He neglected
painting, however, to devote himself to alchemy,
and died of the plague, at Venice, in the same year
with his father, 1576.
VECELLI, TiZTANO, called Tizianello, a son of
Marco Vecelli, 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.
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 hig
province, "equally distinguished by his wisdom in
the council of Cadore, and by bravery as a soldier
in the field." Titian was one of four children born
to this worthy, and his birth took place, as seems
certain from his own testimony, not later than
1477, the date usually assigned, which has been
doubted by some historians. Showing 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 Zuocato, a Venetian mosaic-
ist, from whose school he appears to have quickly
passed into that of the Bellini, who were already
at this time, (about 1488,) considered the chief
masters in Venice. Dolce affirms that he first
worked with Gentile, the elder brother, who dis-
approved of his bold and rapid style of drawing.
This led him to seek the workshop of Giovanni,
where he doubtless acquired that love for colour
and knowledge of its effects which became the pre-
dominant characteristic of his art. It was at this
time also that he made the acquaintance of Palm a
Vecchio and Giorgione, the latter of whom especially
exercised considerable influence over his style. He
seems at one time to have entered into a sort of
partnership with Giorgione, but the exact facts of
640
their intercourse are not clearly established. Pro-
bably Titian's first independent employment in
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 writings 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. In
the years 1507-1508 he was employed, in conjunc-
tion with Giorgione, on the decoration of the new
Fondaco dei Tedeschi, or house of exchange for the
German merchants in Venice, which had just before
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. (It was engraved by
Piccino in 1658, and by Zanetti in his ' Varie
Pitture' in 1760.) Among Titian's earliest works
on canvas, Crowe and Cavalcaselle reckon : a
small ' Virgin and Child,' in the Belvedere ; a
' Man of Sorrows,' and ' Christ carrying the Cross,'
in the Scuola di San Rocco at Venice; and the
allegorical composition usually called ' Sacred and
Profane Love,' in the Borghese Palace in Rome. In
this latter work, whatever it may be meant to signify,
Titian's powers as a colourist are already strikingly
apparent, and soon afterwards his skill as a portrait-
ist was made known in a portrait that he executed
of Marco Barbarigo, still in the possession of the
Barbarigo family, and also in a splendid portrait of
a Doge, now in the Vatican. The celebrated ' Christ
of the 'Tribute Money,' ' Cristo della Moneta,' of the
Dresden Gallery, which is spoken of by Vasari as
something " stupendous and miraculous," and by
Crowe and Cavalcaselle as being "the most perfect
easel picture of which Venice ever witnessed the
production," also belongs to this early period. It
would seem that Titian, who was well acquainted
with several of the members of the learned
Aldine Club, was advised by Pietro Bembo to go
to Rome and accept service under Leo X., but he
was dissuaded, it is said, by Navagero, from taking
this step, and the letter is still extant, dated May
31, 1513, in which he ofEers himself to the Doge
and Council of Venice to paint in the Hall of
the Great Council, in the Ducal Palace. " I, Thian
of Cadore," this letter begins, "having studied paint-
ing from my 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 diflioult 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 doing certain work) until after Bel-
lini's death m 1516. Before this, however, he had
already begin painting in the Hall of Council, bat
he could not for many years be got to finish the
great battle-piece he had undertaken, and his de-
lays led to much dissatisfaction on the part of the
Vecelli
PAINTERS AND ENGRAVERS.
Vecelli
Council, and even from time to time to the revoca-
tion 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 Perrara was made in FeUruary
1516, when he lodged with two assistants in the
Castello of Ferrara, receiving weekly rations of
"salad, salt meat, oil, chesnuts, tallow candles,
oranges, cheese, and five measures of wine."
Whether he was engaged at this time in finish-
ing Bellini's celebrated ' Bacchanal,' now in the
possession of the Duke of Northumberland, or
whether he was working on other pictures, is not
certain, for besides painting the portraits of Alfonso
and his mistress, the beautiful Laura Dianti, and
numerous subjects both religious and mythological,
Titian is known to have executed for this prince
two of the finest of his early works, ' The Cristo
della Moneta' before-mentioned, and the 'Bacchus
and Ariadne,' now the pride of our National
Gallery. It was in the same year as this visit to
Ferrara that Titian received the commission for
his great ' Assumption of the Virgin,' now in the
Accademia at Venice.
In 1623, Federigo Gonzaga, Marquess, and after-
wards Duke, of Mantua, was added to the list of
Titian's noble patrons, and numerous letters have
been found in the Mantuan archives and published
in Crowe and Cavalcaselle's life, that passed between
the painter and this nobleman. They all tend 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
numbered not only dukes and princes, but kings,
popes, and emperors among his employers and
correspondents. Of Titian's domestic life very
little is known. His wife, who was named Cecilia,
died in 1530, after having borne him three children —
his scapegrace son, Pomponio, who took priest's
orders, and for whom he was always seeking bene-
fices ; Orazio, who followed his father' s profession ;
and his beautiful daughter, Lavinia, 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 1616, and took another
in the north-eastern 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 TitiaiTs 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 scudi for the same, of
which, however, he had subsequently to refund
VOL II. T T
half 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 ofEspring 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.
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, ho
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 " his 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
641
Vecelli
A BIOGRAPHICAL DICTIONARY OF
Vecelli
sights 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 Parnese, 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 iind Titian undertakirig
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 Cavaloaselle, the large full-
length in the Madrid Gallery, the original sketch for
which still exists in the Barbarigo collection atPadua.
A number of letters have been found in the Simancas
archives that passed between Titian and Philip
II., most of them relating to commissions 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 in-
domitable energy seem never to have failed, and ■
it is not until the last years of his life that we see
any signs of decay in his art. Vasari found him in
1666 with the brushes still in his hand, and even in
1574, when he was ninety-seven years of age, he
was able to receive a royal visitor — Henry III. of
France — with his wonted magnificence. It was not,
indeed, until 1576, when he was only one year short
of a hundred, that this Prince of Painters, who had
" never received from heaven anything but favour
and felicity," (so far at least as Vasari knew,) suc-
cumbed at last to the terrible plague which desolated
Venice in that year, and which carried off also his
painter-son Orazio within the course of a few
days. The law by which the churches in 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 ' Assurnption, and his beautiful votive altar-
piece, the ' Madonna di Casa Pesaro.'
■ Of Titian's art it may be said that it reaches
the 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
642
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 modem 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,' iij the
collection of Paolo del Sera. The background in the
now destroyed ' S. Peter Martyr,' added enormously
to its efEect, and in many of his lighter subjects, we
find the same charm 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 pubhshed
in 1508 a series of rough but powerful woodcuts,
somewhat in the manner of Mantegna, representing
a religious triumph. Of the four pictures called the
' Triumphs,' of which a long account is given in
former editions of this dictionary, there is no satis-
factory authentication. Cort and Boldrini were
the two engravers employed by Titian to engrave
some of his finest works, and a patent granting
a monopoly in their publication was granted him
in 1566. Works : M. M. H.
Antwerp. Museum. The Pesaro altar-piece (an early
work).
Berlin. „ Portrait of a daughter of
Hoberto Stiozzi.
„ „ Portrait of the Venetian
Admiral, Giovanni More.
„ „ Portrait of himseU.
„ „ Portrait of his daughter La-
vinia (holding a sUver bowl
of flowers and fruit).
Dresden. Gallery. The Tribute Money (' il Crista
delta Moneta').
„ „ Virgin and Child, with Saints.
J, „ Virgia and Child, with S.
Joseph, AJphonso I. of Fer-
rara, Lucrezia Borgia, and a
youth.
„ „ Venus and Cupid.
„ „ Three Female portraits.
„ „ Portrait of a Man, with a palm-
branoh.
„ „ Portrait of his daughter
Laviuia.
Dublin. N'at. Gall. The Supper at Emmaus.
Edinburgh. Nat. Gall. A Landscape.
„ „ Virgin and Child, with S.
Catharine.
» » Ariadne in Naxos (? co^ iy
Vecelli
PAINTERS AND ENGRAVERS.
Vecelli
Florence.
Vfid.
Pitti Gall.
Glasgow. Gallery.
Hampton Court.
London. Nat. Gallery.
„ Buckingham Pal.
„ Bridgewater Ho.
Madrid.
Nicholas Poussin of the pic-
ture at Madrid).
Portrait of the Duchess of
Urtino.
Portrait of the Sculptor Sanso-
Tino.
Virgin and Child, with S. John
and Seraphs.
Portrait of Fr. M. della Eovere,
Duke of TJrhiuo.
Sketch for the Battle of Cadore.
Portrait of Giov. de' Medici.
Study for the Pesaro Holy
Family.
The Virgin and Child, with
S. Catharine.
The Virgin and Child with SS.
John and Anthony.
Portrait of Catharine Cornaro,
Queen of Cyprus.
The Virgin and Child, with
angels.
Venus (two versions; hoth in
the Tribune).
Portrait of the Prelate Becoa-
delli.
Marriage of S. Catharine.
Portrait of a Lady ('La Bella
di Tiziano ').
Portrait of Pietro Aretino.
The Magdalen.
Portrait of Vesalius.
„ „ Luigi Cornaro.
„ „ Philip II. of Spain.
„ „ Cardinal Ippolito de'
Medici.
Portrait of Alfonso I. Duke of
Ferrara.
Portrait of Tommaso Mosti.
Three anonymous male por-
traits.
Salvator Mundi.
Adoration of the Shepherds.
Danae (?).
Holy Family (?).
Portrait of Alessaudro de'
Medici (formerly called Boc-
caccio, and engraved as such in
the preface to Bohn's edition
of the Becameron).
Death of Lucretia (?).
Portrait of a Man in armour.
Madonna and Child, with Tohit
and the Angel.
A Holy Family; Shepherd
adoring (? Palma).
Bacchus and Ariadne.
Noli me Tangere.
Madonna and Child, with S.
Catharine.
Venus and Adonis, with the
Story of Myrrha.
Portrait of Ariosto (? Palma).
A Concert (?).
Rape of Ganymede (?).
Venus and Adonis (a good copy).
The Tribute Money (? Bassano).
A Landscape,\rith Man driving
Cattle.
Diana and Actseon (?).
Diana and Calisto (?).
Venus rising from the sea.
Portrait of Clement VII.
Allegory of the Three Ages.
A good old copy of the Peter
Martyr.
A Bacchanal {Ariadne in Na.vos) ,
pendant to the London
Bacchus and Ariadne.
Offering to the Goddess of
Love.
Venus and Adonis.
The Fall of Man.
Danae.
112
Madrid.
Milan. Brera Gallery.
Munich.
Naples.
Gallery. Venus listening to Music (two
versions).
„ Salome.
„ ' La Gloria.'
„ The Entombment.
„ Sisyphus.
,, Prometheus.
„ Ecce Homo.
„ Mater Dolorosa.
„ S. Margaret.
„ The Marquis del Vasto's ad-
dress to his soldiers.
„ Diana and Actaeon.
„ Diana and Calisto.
„ Portrait of Charles V. on foot.
„ „ „ „ on horse-
back, at the Battle of Muhl-
berg.
„ Portrait of Philip II.
„ „ „ a Knight of Malta.
„ „ „ himself.
„ „ „ the Empress, Isabel
of Portugal.
(And eighteen others^
S. Jerome in the desert.
Two male portraits.
Virgin and Child with S. John.
Vanity of earthly things; an
allegory.
,, Portrait of Charles V.
„ Virgin and Child.
„ The Crowning with Thorns.
„ The Mysteries of Priapus (?).
„ Two male portraits.
Gallery. Portrait of Philip II.
„ Danae.
„ Portrait of the Duke of Parma.
„ „ „ Paul III.
„ „ „ „ with his
grandson.
„ Portrait of Cardinal Aless. Far-
Paris.
Louvre.
Petersburg. Hermitage.
Home.
Venice.
Vatican.
Pal. Boria,
Pal. Corsini.
Pal. Sciarra-
Colonna.
Pal. Borghese.
»
Aecademia.
S. Maria de' Frari.
Gesuiti.
SS. Giovanni t
Paolo.
nese.
The Entombment.
Jupiter and Autiope (' Venus
del Pardo ').
Virgin and Child with Saints.
' La Vierge an Lapin.'
Christ crowned with thorns.
Portrait of Francis I.
Alphonso of Ferrara and Laura
Dianti.
Four male portraits.
An Allegory.
Virgin and Child with the
Magdalen.
The toilet of Venus.
Portrait of Paul III.
„ „ Cardinal Antonio
Pallavicino.
Head of Lavinia Vecelli.
The Bepentant Magdalen.
(And six others.)
' Madonna di San Niccolo.'
Portrait of Jansenius.
„ „ Cardinal Farnese.
I ' La Bella di Tiziano ' (? Palma).
Sacred and Profane Love.
Cupid and Venus.
Assumption of the Virgin.
The Entombment.
The Visitation of St. EMzabeth
(his earliest work ?).
S. John in the Desert.
Portrait of Jacopo Soranzo.
„ „ Priamo da Lezze.
„ „ Antonio Oappello.
The ' Madonna di Casa Pesaro.'
Martyrdom of S. Lawrence.
) Death of S. Peter Martyr (a
j m,odern copy by Cardi da
Oigoli. Titian's great picture
was destroyed liy fire in 1867.
643
Vecq.
A BIOGRAPHICAL DICTIONARY OF
Veen
A study for it by the master
is in tile British Museum).
Venice. S. Maria d. \ S. Mark, enthroned, with SS.
SaluU.S Sebastian, Eoch, Cosmus,
and Damiauua.
„ S. Salvatore. The Annunciation ; signed
TiTIANDS FECIT, FECIT, in
order, says tradition, to
silence some one who would
not believe in its authorship.
Verona. Gallery. A Holy Family.
The Eape of Enropa. {Lord Darydey's Collection.)
Portrait of Ariosto. {Do.)
The Cornaro Madonna. {Duke of JVorthumierland.)
Bacchanal, commenced by Giov. Bellini. (Do.)
BIBLIOGRAPHY.
Crowe and Cavaloaselle, ' Titian,' &c. London, 1877.
Eaffaello Borghini, ' II Eiposo.' Florence, 1584.
Carlo EidoH, ' Le Maraviglie dell' arte,' &c. Venice,
1648.
Tizianello, ' Anonimo.'
A. M. Zanetti, ' Delia Pittura Veneziana.' Venice, 1771.
Stef. Ticozzi, ' Vite del Pittori Vecellj di Cadore.' 1817.
Cadorin, ' Tiziano Vecellio e il suo monumento.' 1853.
Sir A. Hume, ' Notices of the Life of Titian.' 1829.
Jas. Northoote,' The Life of Titian,' &c. Loudon, 1830.
J. Gilbert, ' Cadore, or Titian's country. ' London, 1876.
Eichard Ford Heath, ' Titian.' 1881.
Lady Baatlake, ' Five Great Painters.' London, 1883.
V. BraghiroUi, ' Tiziano alia oorte dei Gonzaga.' 1881.
Giorgio Vasari. (Vol. vii. pp. 425-484, Milanesi Ed.
Florence, 1881.)
VECQ, J. LB. See Levecq.
VEELWAARD, Daniel, an engraver, was bom
at Amsterdam in 1766. He learnt drawing under
P. Louw and J. C. Sohultsz, but in engraving and
etoliing he was self-taught. In 1828 he engraved
seventy large plates for the ' Museum Anatomi-
cum,' after designs by G. Sandifort. His sons —
Hakmanus, Abraham, and Daniel — were also
engravers.
VEEN, Geertruida van, (or G. Vcenids,) was
the daughter of Otto van Veen, and was born 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 RuchoUe.
VEEN, GiJSBEBT, or Gilbert, Van, ( Vcbnius,) por-
trait painter and engraver, was the younger brother
of Otto van Veen, and was born 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 Cornells 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 Alessandro Farnese ; after Otto van Veen.
Giovanni da Bologna. 1589.
The Four Seasons ; after Eaffaello dal Colle. 1589.
These have been incorrectly stated to be after
Eaphael Sanzio.
The Espousal of Isaac and Eebekah ; after B. Feruzn ;
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 ; afta- 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 Heemskebk,
(or Hemskerk,) was the son of Jakob Willem van
Veen, a small farmer, and was born at Heemskerk,
a village near Haarlem, in 1498. His father,
644
yielding to his desire of becoming a painter, placed
him under the care of Cornelis Willemsz, of Haar-
lem, but repenting of his 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 Sehoorel
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
Sehoorel 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 his
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 ],
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. E. Museum. The Eesurrection.
(And two others.)
Berlin. Museum. Momns ridiculing the Works of
the Gods. 1561.
Brussels. „ Triptych.
Ghent. „ Christ crowned with Thorns.
1532.
Haarlem. Gallery. S. Lnke painting the Virgin.
„ „ The Nativity.
„ „ The Holy Family.
„ „ Belshazzar's Feast.
„ „ Christ in the Preetorium-
„ „ Ecce Homo.
„ „ 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. Eomano.
„ „ 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
usually marked them with the cipher ^$ ,
Among them are :
The History of Tobias. | The Prodigal Son.
The Annunciation. j Judah and Thamar.
The Adulteress before Christ.
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 oppose the inclination he discovered for
painting. His father Cornelis was burgomaster of
Leyden, and when, in 1572, the town declared
against Philip 1 1., he declined to join the insur-
Veen
PAINTEES AND ENGRAVERS.
Veith
gentB. His property was confiscated, and he retired
with his family to Liege. Otto had 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 Madrucoio. He was kindly re-
ceived by Madruccio, and granted apartments in
his palace. He entered the studio of Federigo
Zuccaro, 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 1685 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 Archduke 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. E. Museum. Twelve scenes illostrating the
rising of the Batavians
against the Romans,
The Calling of Levi.
Two scenes from the Legend of
S. Nicholas.
Zacchseus in the Fig-tree.
Last Supper.
Parnassus.
Adoration of the Magi.
Triptych (The Crucifixion).
Christ bearing the Cross.
Marriage of S. Catharine.
Baising of Lazarus-
Two Portraits.
The Painter and his Family.
Holy Family.
Portrait of the Archduke Er-
nest, son of Maximilian II.
„ „ Portrait of the Archduke Al-
bert, Governor of the Nether-
lands.
VEEN, PiKTEB VAN, brother of Otto van Veen,
painted for amusement only, but has left a ' Relief
of Leyden in 1574,' of some 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.
Antwerp.
Berlin.
Bruges.
Brussels.
Ghent.
Madrid.
Paris.
Vienna.
Cathedral.
Museum.
Cathedral.
Museum.
S. JBavon.
Museum.
Louvre.
Gallery.
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 alsb drew portraits.
VEERENDABL. See Veeendael.
VEGA, Gonzales de. See Gonzales.
VEGLIA, Marco and Piero, two Venetian
painters, who flourished at the beginning of the
16th century.
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 adjnired. 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 Berlin, of
Jewish parents, in 1793. His father died while
Veit was still a child, and his mother, a daughter
of Mendelssohn, the philosopher, married Friedrich
von Sohlegel. 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. In 1813 he entered
the army and served during the Napoleonic wars.
In 1815 he went to Rome, where he joined the
neo-German religious school, and remained till
1830. Working together with Cornelius, Overbeck,
and Von Schadow, 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 Trinita 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
Bensheim, ' The Marys at the Sepulchre ' (now in
the Berlin National -Gallery) ; and the following
frescoes, ' The Triumph of Christianity,' ' The Inr
troduction of Art into Germany by Christianity,'
' Italia,' and ' Germania ' ; these four were for the
Institute. In 1843 he retired to Sachsenhausen.
In 1846 he there painted an ' Assumption of the
Virgin ' for Frankfort cathedral, and several pic-
tures for King Frederick William IV. In 1853
he settled at Mayenoe, 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, JoHAKN Maetin, was. bom 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 bom 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 1836. Nagler
catalogues 206 plates by him.
645
Vela
A BIOGRAPHICAL DICTIONARY OP
Velazquez
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 rotables for other convents.
He died at Cordova in 1676.
VELA, Cristobal, a Spanish painter, was born
at Jaen in 1598, and was first a scholar of Pablo de
Cespedes, but afterwards studied under Vincenzio
Carduoho. 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 Charles Robinson considers him
as possibly identical with the painter of several
large pictures in the cathedral of Vizeu.
VELASCO, Antonio Castbo t. See Palomino
DE Casteo.
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
Philip 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 Velasoo, 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
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 Rodriguez 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 over since the beginning of
the 16th century. The young Diego was intended
by his parents for some liberal profession, was
646
taught Latin, was introduced to belles lettres, 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 Pintura,' 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-like 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 influence of 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; the
' Adoration of the Kings ' of the Madrid Museum ;
and the ' Adoration of the Shepherds ' in the National
Gallery ; and in each of these the power given by
such studies is conspicuous.
In 1618, when he was not yet nineteen, Velazquez
married Paoheco's daughter Juana. Thirteen
months afterwards she bore him a daughter, Fran-
cisoa ; and two years later still, a second daughter,
Ignacia, who seems to have died in infancy. Fran-
cisca lived to become 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
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 earned 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 was 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 Velazquez began a poitrait of Charles ;
it cannot now be traced. 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 royal features, and, it is said, ordered previous
Velazquez
PAINTERS AND ENGRAVERS.
Velazquez
portraits (by the Carduooi, 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 tlie elder
(Rubens was now iifty-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.' Prom Venice he went to Rome, by way
of Perrara, 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 Mediois. 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,
few of which can now be traced, 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 Esoorial. 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 friend-
ship with Spagnoletto. It was at the instigation
of Velazquez that Philip IV. bought many of those
pictures by the Valencian master which now hang
at Madrid.
Early in 1631 Velazquez was again in the Spanish
capital. Delighted to have his favourite back,
Philip assigned 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
age of two, and provided a sketch of the equestrian
statue of Philip which was afterwards modelled by
Pietro Tacoa, 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 thi^ 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 Ghev-
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 ofE to France
by Joseph Bonaparte or some of his 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. He 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 fiancie, 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 Rome 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 Pamphili by birth, was the
reigning pontifE, 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 Maldaohini,
of Flaminia Triunfi, of Girolamo Bibaldo, and of
various chamberlains and other servants of the
pope. All these, says Palomino, were painted with
th'ose long-handed tools which have since been
known as Velazquez brushes. In the early months
of 1651 the painter still lingered in Italy, buf 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 bim, 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,'
647
Velazquez
A BIOGRAPHICAL DICTIONARY OF
Velazquez
the ' ^Bop ' and ' Menippus,' and the later portraits
of Philip and his family. The 'Meninas' was
painted in 1656, and it was not until 1659 that
Velazquez was received into the order of Santiago.
Hence it has been sought to discredit the story
which ascribes the red cross on the painter's breast
to the hand of Philip himself. There is no need,
however, to abandon the tradition, which has
every probability. We have only to suppose the
graceful act was done some time after the com-
pletion of the picture, and that the deliberate
Spaniards took their time over that verification of
the artist's noblesse which was necessary before he
could be finally received into the knightly brother-
hood. His reception took place on the 28th of
November, 1659.
Shortly before this the Mar4chal-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 preparations on the Island of Pheasants,
in the Bidassoa, where the marriage by proxy was
to take place. Setting out from Madrid eight days
before tiie king, in company with two assistants,
his son-in-law Mazo and one Jos^ 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
taken off on the payment, by his son-in-law Mazo,
of half that 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
modern schools of art than those of any one else.
The chief pupils of Velazquez were Mu'rillo,
Carreno de Miranda, Juan de Pareja, Juan Bautista
Mazo-Martinez, Juan de Alfaro y Gomez, Juan
de la Corte, Francisco Palaoios, Nicolas de Villacis,
Francisco de Burgos, Tomas de Aguiar, and Antonio
Puga, by one or the other of whom many pictures
ascribed to the master were painted.
The following list includes all the more important
works of Velazquez. y^.K.
SPAIN.
Museum, The Ooronation of the Virgin.
„ The Adoration of the Kings.
„ Christ Crucified.
„ S. Anthony Abbot and S.
Paul the Hermit.
„ Los Bebedores (The Drinkers).
648
Madrid
Menippus.
Mars.
Mercury and Argus.
Madrid.
of
Diica de Villa-
The Forge of Vulcan.
Las Lanzas (Surrender
Breda).
Las Meninas (The Maids of
Honour).
Las Hilanderas (The Spinners,
or ' Tapestry Weavers ').
Portrait of Philip III.
Seven portraits of Philip IV.
Four portraits of Don Baltaear
Carlos.
Portrait of Don Fernando.
„ „ *AlonsoCano' (pro-
bably Martinez-
Montanes).
„ „ Luis de Gongora y
Argote.
„ „ Alonso Martinez de
Espinar.
„ „ II Conde-duca Oli-
vares.
„ „ Don Antonio Alon-
so Pimentel.
Two anonymous male por-
traits.
Portrait of Margaret of Austria,
Q. of Philip in.
Portrait of Elizabeth de Bour-
bon, Q. of Philip IV.
Three portraits of Mariana
of Austria, second Q. of
Philip IV.
Portrait of Maria, Q. of Hun-
gary.
Portrait of Infanta Maria Te-
resa, daughter of Philip IV.
Portrait of Juana Pacheco, wife
of Velazquez.
Two portraits of Francisca,
daughter of Velazquez.
Portrait of an old Lady.
' El Bobo de Coria.'
'El Nino de Valleoas.'
Portrait of Seb. de Morra, a
dwarf.
Portrait of El Prime, do.
„ „ 'Don Autouio el
Ingles,' do.
' Barberousse,* fool to Philip
IV.
' Pablillos de Valladolid,' do.
' Don Juan de Austria,' do.
Ten landscapes.
ca de Villw-'t-r, , .. »,,,.,. tit
hermosa. j Portrait of Phdip IV.
Diuia de Feman >
Nunes. j
Duca de Alia.
Seville.
Dvc de Mont-
pensier.
the Wife of Don
Christoval del
Corral.
„ the Son, do.
„ II Conde-duca Oli-
vare.
„ Don Baltasar Carlos.
„ Infanta Margarita
Maria.
Valladolid.
„ PhiUp IV.
,, „ n Conde-duca Oli-
vares.
„ „ „ a young Man.
Museum. Two peasants, Man and Woman.
ENGLAND.
Castle Howard. Earl oft ■., , , ,^v -kt-,
Carlisle f ^°^®^ saved irom the Nile.
Hampton Court.
The Prince of Parma with his
. dwarf.
Portrait of Juan de Pareja.
„ „ Queen Mariana of
Austria.
Dogs.quarrelling.
Portrait of Philip IV.
„ „ Queen Elisabeth de
Bourbon.
Velazquez
PAINTEKS AND ENGRAVERS.
Velazquez
Dulwich Gall,
Stafford House.
Kingston W. R.BmH, \ g^^^^j^ j^^ , j^as Meninas.'
„ ' „ ' Portrait of Philip IV.
„ „ „ „ Cardinal Gaspar de
„ „ Borgia.
„ „ „ „ an Ecclesiastic.
London. Nat. Gallery. Christ at the Column.
„ „ Orlando dead (?).
„ „ The Adoration of the Shep-
herds.
„ „ Portrait of Philip IV". (full
length).
„ „ Portrait of Philip IV. Umst).
„ „ Philip IV. hunting the Wild
Boar.
Portrait of Philip IV.
~i. Carlo Borromeo {conip. of
eight figures).
„ „ S. Francesco Borgia {do.).
„ „ Landscape with figures.
„ Dorchester Souse. Portrait of Philip IV.
„ „ „ „ II Conde-duoa Oli-
vares. "
„ „ Three portraits of Don Baltasar
Carlos.
„ „ Portrait of Olivares.
„ „ „ „ a Princess (?).
,, » .) ). a Lady.
„ ,, „ „ a young Girl.
A Boar Hunt.
S. Clara.
A Man's portrait.
Portrait of Juaua Pacheco.
„ a Cardinal.
„ Pope Innocent X.
(imst).
„ „ Francisco de Que-
vedo (?).
„ „ a Man.
Two young Boys.
The Water-Carrier of Seville.
Village fete near a Fortress.
Landscape with Market.
Portrait of Philip IV.
„ A natural Son of
Olivares.
„ „ Velazquez.
„ „ Julian Valcarcel.
„ „ Philip IV.
Dwarf with Dog and Parrot.
A Boar Hunt.
Landscape with Figures.
Portrait of Don Baltasar Carlos,
Bust portrait of a young Man.
Portrait of Don Baltasar Carlos.
Dudley House.
Jpsley House.
, Earl of JVorthirook.
, £ridgewater Ho.
Lord Ashlmrton.
Grosvenor House.
Buckingham Pal.
Marquis of
Lansdowne.
Marquis of Bute.
D. of Devotishire.
«
Earl Stanhope.
Sir W. Gregory,
Earl of Clarendon,
, F. Clare Ford, Esq.
Fr. Cook, Esq,
(Richmond).
Longford
Castle.
> „ „ 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.
A Duel in the Prado.
Philip IV. hunting the Wild
Boar.
The Alameda, Seville.
Portrait of Olivares.
„ „ Q. Elisabeth de
Bourbon.
„ „ Q. Mariana of
Austria.
I Deliverance of S. Peter.
Portrait of Q. Mariana of
Austria.
, An old Peasant.
, Two Peasants.
Earl o/) Portrait of Don Adrian Pulido
Radnor. J Pareja.
„ Portrait of Juan de Pareja.
Lynford Hall,
Korfolk.
Mrs. L. 1
Stephens. J
Petworth.
Eokeby
Park.
Woburn
Abbey.
Earl of Breadalbane,
L. Arundel of Wardour,
Lord Heytesmry.
Lord NoTthwick (?).
Mrs. Henry Huth.
Earl of \
Leconjield. J
R. Morrit, \
Esq. J
Duke of \
Bedford, j
Portrait of PhiHp IV.
„■ „ a young Girl {an
infanta ?).
Male Portrait.
Venus and Cupid.
Portrait of Don Adrian Pulido
Pareja.
Christ at Emmaus.
Male Portrait.
Sketch for the ' Bebedores.'
Lot and his Daughter.
Portrait of Philip IV.
„ „ Olivares.
„ „ Q. Elisabeth da
Bourbon.
Broom Hall, Earl oft ^^ . .. ,„,.
Fife. _e;^;„/J Portrait of OUvares.
„ „ Dog with a Bone.
Cawdor House, Lanark. Portrait of Innocent X.
Gosford Hall. Earl oft -., , t> i -j.
Keir, Perthshire. A Spanish Lady.
„ Small portrait of Velazquez (?).
„ Fish and Fruits.
„ Two Landscapes with Figures.
Rossia Priory. ^.^Z^r.|p„^,^^,„,^^^„„^^^„
FRANCE.
Louvre. 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.
M. de Rothschild. „ „ Don Luis de Haro.
Eudoxie-Marcille ) „ „ Infanta Maria Te-
Coll. ) resa.
Maurice Cottier. Buffoon playing with a toy
MiU.
Paul Lefort. Young Man laughing.
ITALY.
Paris.
Florence.
it
JPitti Fal.
Portrait of Philip IV.
Two Male Portraits.
Modena.
Rome.
Uffid.
Fal. Ducale.
Pal. Doria.
Portrait of Philip IV.
Two portraits of Velazquez.
Portrait of Velazquez.
Portrait of Innocent X.
f}
Capitol.
„ „ Velazquez.
QEBMANT.
BerKn.
Museum.
Portrait of Alessaudro del
Borro.
)}
„
Male Portrait.
ff
„
Portrait of the Infanta Maria.
Dresden.
Raczynski Col.
Gallery.
A Dog.
Portrait of Olivares.
Two Male Portraits.
Frankforl
. Staedel Inst.
Cardinal Gaspar de Borgia.
Portrait of Infanta Margarita
Maria.
Munich.
Gallery.
Cardinal Eospigliosi.
AUSTRIA.
Vienna.
Gallery.
Two Portraits of Philip IV.
Portrait of Don Baltasar Carlos.
„ „ Don Felipe Prosper.
„ „ Infanta Maria Te-
„ „ „ Infanta Margarita
Maria.
„ Young Man with a Flower,
laughing.
Academy. Female Portrait.
Harrach Coll, A Spanish Prince.
649
Velazquez
A BIOGRAPHICAL DICTIONARY ,0P
Venanai
RUSSIA.
Petersburg. Hermitacie. Two Portraits of Philip IT.
„ Olivares.
„ „ Portrait of Innocent a.
(sketch),
A young Peasant.
Leuch- '
temberff Coll.
' !• Male Portrait.
Stockholm.
SWEDEN.
Museum. Portrait of Philip IV.
„ „ „ a young Man.
The Hague. Museum. Portrait of Don Baltasar Carlos.
J, „ A Landscape with Figures.
New York. Metropolitan l-p^^^. p;ggg_
Museum. )
Yale College, U.S.A. Male Portrait.
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1844).
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artisticas y literarias' (Seville, 1867).
Bosarte, ' Viage artistioo a varies pueblos de Espaiia '
(Madrid, 1804).
Cean Bermudez, 'Diocionario historico,' &c. (Madrid
1800).
D. Pedro de Madrazo, ' Catalogo descriptivo e historico
del Museo del Prado ' (Madrid, 1872).
D. Pedro de Madrazo, 'Viage artistico de tres siglos
por las colecciones' (Barcelona, 1884).
Francisco Pacheco, ' El arte de la pintura,' &c. (Seville,
1649).
Palomino de Castro y Velasco, ' El museo pictorioo y
Esoala optica ' (Madrid, 1715—1724).
Zarco del Valle, ' Documentos ineditos para la historia
de las bellas artes en Espana ' (Madrid, 1870).
Ceferino Aranjo Sanchez, ' Los Museos de Espana '
(Madrid, 1875).
Cruzeda Villaamil, ' Eevista Europea : Inf ormaciones
de las calidades de Diego de Silva Velazquez, aposen-
tador de palacio ' (vol. ii. Madrid, 1874).
Vicente Carducho, ' Dialogos de la Pintura ' (Madrid,
1633).
L. Viardot, ' Les Musfes d'Espagne ' (Paris, 1860).
Clement de Ris, ' Le Musee Royal de Madrid ' (Paris,
1859).
Charles Blanc, 'Histoire des Peintres. Ecole Espag-
nole ' (Paris).
W. Burger, ' Tr^sors d'art en Angleterre ' (Paris, 1865).
"W". Burger, 'Velazquez et ses oeuvres ' (Paris, 1865).
Ch. Davillier, ' Memoire de Velazquez sur 41 tableaux
envoy^s par Philippe IV. 4 I'Escurial' (Paris, 1874).
Quillet, ' Dictionnaire des Peintres Espagnols' (Paris,
1815).
T. Gaufcier, ' Don Diego Velazquez da Silva ' (' L' Artiste '
for March, 1868).
' Notice sur I'esquisse de Velazquez, premiere pens§e
du cSlebre tableau, "La Eeddition de Breda," qui
existe au Mus^e de Madrid et qu'on nomme ordin-
airement le tableau des " Lances " ' (Paris ; no date ;
? 1865).
Charles Gueullette, 'Les Peintres Espagnols' (Paris,
1863).
Paul Lefort, 'Yelazquez' (one of the 'Artistes
Celebres ' series : Paris, 1888).
P. de Madrazo, 'Quelques Velazquez au Musee
de Madrid' ('L'Art' for 24th November and 1st
December, 1878).
W. Stirling (Sir 'William Sterling-Maxwell, Bt.), ' Annals
of the Artists of Spain ' (London, 1848).
W. Stirling, 'Velazquez and his Works' (Loudon,
1855).
Cumberland, 'Anecdotes of Eminent Painters in
Spain' (London, 1782).
Richard Ford, ' Handbook for Travellers in Spain '
(London, 1855).
Richard Ford, The Paintings of Spain ('Quarterly
Review ' for June 1848).
650
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'
(London and New York, 1883).
Passavant, ' Die Ohristliche Kunst in Spanieu ' (Leipsie,
1853).
Justi, 'Jahrbuoh der K. Preussischen Kunstsamm-
lungen ' for 1887. y. A.
VELAZQUEZ MINAYA, Francisco, a knight of
the order of Santiago, painted familiar subjects for
his amusement. He resided at Madrid about 1630.
VELDE. See Van db Velde.
VBLDENAER, Johann, a Dutch engraver on
wood, and printer, flourished from 1447 to 1483.
He was perhaps a native of Germany, as Italian
writers call him ' Giovanni di Westfalia.' He
printed the book called 'Fasciculus Temporum,'
in Latin, ornamented with wood-cuts, at Louvain,
in 1474 ; ' Caroli Viruli formulae Epistolarae,' in
1476 ; the ' Speculum Humanje 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 ' Specu-
lum Humane Salvationis ' supplies the link between
the block-books and books printed entirely with
movable metal types, and illustrated with cuts
containing figures. Whether Veldenaer really de-
signed and engraved the cuts that ornament those
books is a question that has exercised the ingenuity
of many abl e writers. He certainly sawed in two the
wood-cuts from the folio edition of the ' Speculum
Humanas Salvationis,' to get them into his quarto
edition. For fuller accounts of Veldenaer see
Willshire, ' 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, Philippus, designer and engraver, was
born at Leyden in 1786. He studied at the school
'.iEmula Naturae,' and under Delfos the engraver,
but developed his talents principally by himself.
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.
VBLLANI, Francesco, a Modenese painter of
the school of Stringa, born about 1688, died in
1768. He left many works in Modena and its
neighbourhood.
VELLATRANO, Virg. di Vezzo. See Vezzo
and under VouET, Simon.
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, Anatolb, a French painter, born at
Ronsoy (Somme) in 1838, studied first at Valen-
ciennes, and afterwards in Paris at the 6cole 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 the Corcoran
Art Gallery, Washington, there is 'The Talking
Well ' by him. His death took place in Paris,
January 10th, 1882.
VENANZI, 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-
Vendramini
PAINTEES AND ENGRAVEES.
Veneziano
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, in 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 appreci-
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 Olympia,' 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. Vendramini was a very
accurate draughtsman, and frequently engraved
from a picture without making a preparatory draw-
ing. He died in London, Eebruary 8th, 1839.
VENENTI, GiULio Cesaee, 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 Pilippo Brizio, a pupil of
Guide 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 Olorinda ; after the same.
The Virgin of the Kose ; after Parmiyiano.
A Landscape, with the Holy Family; after Annilale
CaiTacci.
VENETIIS, Chataeinus db, 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 Anoona possesses an
altar-piece with the Madonna between four saints,
and a Crucifixion between six saints, both signed
by Chatarinus.
VENETUS, RoL. See Lefbvee.
VENBTUS DE MUSIS. See Musi.
VENETZIANOFP. See Wenetzianoff.
VBNEVAULT, Nicolas, miniature painter, was
born at Dijon in 1697. He studied in Paris, and
became an Academician in 1752. He 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 Musi.
VENEZIANO, Antonio, (Antonio Feancisci
DE Venetiis,) an Italian painter of the 14th cen-
tury, whose family name was probably Lonqhi.
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. Baldinucci 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 Plorentia, 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. Niocol6 and
Francesco, representing the Virgin and S. John
in grief. The date of Antonio's death is unknown.
VENEZIANO, Baetolommeo, 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 kno^vn.
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 1646.
VENEZIANO, BoNiFAzio. See Bonifazio II.
VENEZIANO, Carlo. See Saeaceni.
VENEZIANO, Chataeino. See Venetiis.
VENEZIANO, DoMENico di Baetolommeo, was
probably born in the early part of the 15th 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 Bioci
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 15th, 1461,
four years after the death 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 Domicus,
D. Venechs. p. Signer Morelli further ascribes to
651
Veneziano
A BIOGRAPHICAL DICTIONARY OF
Verbeeok '
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
JacoBello. 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 1367 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
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 Lefjivee.
VENEZIANO, Sbbastiano. 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* Aqnetis, and is hence supposed
to have been parish priest (piovano) of Sant'
Agnese, at Venice ; he flourished in the latter ^art
of the 14th century. The following works are
ascribed to him :
Paris. Zouvre. Madonna; inscribed MCCCLni
M. OT.
Venice. Academy. Coronation of the Virgin. 1381,
{The central pa-nel of an altar-
piece, of which the smaller
portions are ly Semitecolo.)
„ " Correr Museum. Virgin Enthroned, holding the
Child Jesus. 1369,
VENIER, Nicholas, is mentioned by Strutt as
the engraver of a set of twelve plates, representing
the iVIonths of the Year, after Bassano,
VENIUS, See Veen.
VENNB. See Van dee Vennb.
VENNEMAN, Chaeles Feedinand, painter, was
born at Ghent in 1803. 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 Braekeleer in Antwerp.
He painted homely interiors, drinking scenes, &c.,
after the style of Ostade, which had considerable
success. His ' Card-Players ' is in the gallery of
his native town, and there is a ' Peasant Scene ' by
him in the New Pinaoothek at Munich, He died
in 1875.
VENTDRINI, Giovanni Feancesco, was born
at Rome about the year 1619, From the style of
his engraving, it is probable that he was a disciple
ol Giovanni Battista Galestruzzi. He etched several
plates from the works of Italian masters, among
them the following : *
A set of Hates ; after Foliiaro da Caravaggio.
Diana and her Nymphs ; after Domenichino.
The Pulpit of S. Peter's; after Bernini.
A partial bird's-eye View of Eome.
652
VENUSTI, Marcello, was bom at Gomo 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 Eome. Cardinal Alessandro Farnese employed
him to copy the ' Last Judgment ' of Michelangelo
on a small scale, which he accomplished 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
' Prayer on the Mount of Olives ' is in Sant' Iguazio
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, Eome.
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, Feancisoo, 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^v^rin, 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 bienMourir,' 'Le Eomant
de la Eose,' 'La L^gende Dor^e en Franjoys,'
and ' Les Heures de Notre Dame en Franooys 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.
VEEAT, Daeius. See Vaeotaei,
VEEBEECK, Coenelis, 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.
VEEBEECK, FEANgois 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
Verbeeck
PAINTERS AND ENGRAVERS.
Verdier
the Antwerp Academy. He had two daughters,
Elizabeth (b. 1720) and Annb (b. 1727), who
became artists, and were his pupils. He died in
1756. There is by him :
Antwerp. Museum. State visit to the ' Senuent de
rEscrime.' 1713.
VERBEECK, Fbans, 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 1531,
was dean in 1563, and died in 1670. His brother
Philip entered the Guild at Mechlin in 1525.
VERBEECK, Jan, called Hans of Mechlin,
flourished in that city in the second part of the
16th century. He was probably the son of Frans
Verbeeck. He took part in the decorative works
for the entry of Albert and Isabella into Mechhn
in 1599, and was granted the title of painter to
their Highnesses. He was still living in 1619.
VERBEECK, Pietek Cobnelisz, a painter and
etcher of Haarlem, bonj probably about 1599,
was the son of one Coenelis Verbeeck. He
entered the Guild at Alkmaar in 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 left drawings in chalk and Indian ink,
and eight plates (1619-39) etched in the style of
Rembrandt. Pictures by him are in the Museums
of Berlin, Cassel, and Stockholm. BruUiot describes
a print of ' A Shepherd standing,' signed P. G. 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.
VERBIUS, Aenold, (Vbbbuis, or Verbices,)
called ' the Libertine,' a painter of history, por-
traits, and lascivious subjects, was born at Dor-
drecht about 1646, and died in Friesland in 1704.
VERBOEOKHOVEN, Charles Louis, painter,
the brother of Eugene, was born at Warneton, in
Bast Flanders, February 6th, 1802. He learnt
drawing and modelling from his father, and devoting
himself to marine painting, produced many studies
of English, French, and Dutch coast scenery. In
the Antwerp Museum there is a picture of a stormy
sea, with drifting vessels, by him ; signed Louis
Verhoechhoven. Other works are in the Pavilion at
Haarlem and in the Courtrai Museum.
VERBOEOKHOVEN, EugJinb Joseph, painter,
born at Warneton, in East Flanders, June 8th, 1798,
was the son of Barthflemy 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 practised at Brussels, where he 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. S. Museum. Three landscapes with animals.
Brussels. Museum Sheep surprised by a Storm.
Hamburg. Eunsthalle. Hock of Sheep and other
Animals.
London. S.Kensirujton M, Landscape with sheep and
ducks.
Munich. N. FinaeotheJc. 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.
VBRBOOM, Adrlaen 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 Euysdael 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 Lingelbach. He has also left a couple of
etchings :
Le Hameau. A hut in a wooded landscape.
La Piece d'eau. A landscape with a sheet of water.
VERBRUGGE, Gijsbbrt 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, horn 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, Gaspae Pietbr, born at Ant-
werp in 1664, was the son and pupil of the elder
Gaspar Vbebrdggbn, 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 1730. 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 Tebbedggen.
VERBUIS. See Verbius.
VERCHIO. See Civerchio.
VERCRUIJS. See Veekeuys.
VERDAEL. See Verdoel.
VERDE. See Santvooet, Ant.
VEEDEN, Mexstee von. See Mastee of
Werden.
VERDIER, Feanqois, sometimes called Van
Hawken, a French historical painter, designer, and
engraver, was Dora in Paris in 1661. He was a
653
Verdier
A BIOGRAPHICAL DICTIONARY OF
Verelat
scholar of Le Brun, whose nieoe he married, and
in 1668 obtained the iirst 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 Dame 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, Marcel Antoine, painter, was born
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 Maeia, was born at
Venice in 1525, and, according to Ridolfi, was the
scholar and friend of 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 ' ^neid ' ; and, on
the death of Titian, celebrated the memory of his
master in a Latin poem. He died at Venice in 1600.
VERDOEL, Adeiabn, (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 entered 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 BouUongne. 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 Antaeus.' He
worked much for the churches in Paris, where he
died in 1733. A ' S. Paul at Malta ' by him is in
the Louvre.
VERDUSSBN, Jan Pieteb, 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
battles. He died at Avignon in 1763. The Mar-
seilles Gallery contains a battle-piece by him, the
Sobleissheim 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.
VEREIJCKB, Hans, (Veeeycke, Verrijke,)
called also ' Kleyn Hanskin,' 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. *
654
VERELLEN, Jean Joseph, a Flemish historical
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.
VBRELST, COENELIS, 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 born
at the Hague after 1640. He became a master of
the 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
acquired 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
Witt and his wife, by him, are in the Amsterdam
Museum.
VERELST,' Maeia, the (daughter of Herman
Verelst, was Ijorn at Vienna in 1680, and learned
the first rudiments of design from her father, but
was more indebted to the instruction 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, PiETEE, 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 efEect of
his good chiaro-souro. He signed his pictures
variously "^^ P.V.D.B., P.V.E., and in fall,
Pieter Yerheelst, and Pieter Verelst. Works :
Berlin. Museum. Portrait of an old woman. 1648.
„ „ The Sempstress.
Dresden. Gallery. Old man sitting before a coal
fire.
„ „ Man with long Jjeard, reading
at a table.
England. Marq. of Bute. Interior with figures, among
them a youth playing on a
Violin; signed P. Ver-
heelst. 165 . .
Haarlem. Museum. A Dutch Family. 1665.
Vienna. Gallery. Peasants smoking.
„ „ Peasants carousing.
„ „ Two Male Portraits.
VERELST, Simon, the son of Pieter Verelst, was
born at Antwerp in 1637 or 1640, and distinguished
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
Verelst
PAINTERS AND ENGEAVEES.
Verhaghen
higher prices than had ever heen 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 Plowers ' and the ' King
of Painting.' He had ultimately to be placed in a
lunatic asylum, but recovered his reason towards
the close of his Mfe. He died in London in 1710.
He paiated portraits of the Duke of Buckingham
and the Prince de Conde. The Louvre has a young
lady's portrait by him; at Hampton Court there
are a 'Duchess of Portsmouth as Flora,' and a
study of white grapes.
VBEELST, WiLLEM, son of Comehs 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.
VEEENDAEL, Nicolaes van, was bom at Ant-
werp in 1640. He was instructed by his father,
WiLLEM van Vbebndael, 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 giisaiUe of Virgin and
Child in the centre.
Dresden. Gallery. Apes on a table. 1686.
„ „ Bouquet.
„ „ Bouquet in a picture by Teniers.
(No. 1019.)
Munich. Gallery. Flowers in a pictture by J. De
Heem. (No. 624.)
Petersburg. Hermitage. Dessert on a table.
„ „ Bust of Pomona.
„ „ Bust of Flora.
VEEEYCKB. See Vbeeijcke.
VEEGAEA, Josef, was born at Valencia in
1726, and was a pupil of Evaristo Munoz. 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, which grew out of
this, and held the ofBce 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 db, the elder, a Spanish
painter and sculptor, and one of the chief artists of
Toledo, was apparently born in that city about
1510. Prom his knowledge of drawing and the
grandeur of his figures, it is supposed that he
studied in Rome. He was appointed painter
and sculptor to the chapter of Toledo in 1542.
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 embelUshments of the tomb of Cardinal
Ximenes at Aloala 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.
VEEGARA, Nicolas de, the younger, was born
at Toledo about 1540. 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 with his
brother, Jdan de Vergaea, painted the windows
of Toledo cathedral, as mentioned above. He died
at Toledo in 1606.
VERGAZON, Hendeik, 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
of Sir Godfrey Kneller's pictures.
VBRHAEGT, Tobias, (Veehaagt, Vereabcht,
or Van Haeoht,) was born at Antwerp in 1666
(in 1561, according- 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 aftei-wards
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 Prancks.
He died in 1631. The only accessible picture by
him we can name is a 'Hunting adventure of
Maximilian I.,' in the Brussels Museum.
VBRHAGEN, Jan. See Van dee Hagbn.
VERHAGHEN, Jan Joseph, painter, called
Pottbkens Veehaghen, 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.
VEEHAGHEN, Pietee Joseph, an historical
painter, was born at Aerschot in 1728. He studied
under the picture restorer Kerkhoven, and, in the
Antwerp Academy, under Beschey. 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
so 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
655
Verhas
A BIOGRAPHICAL DICTIONARY OF
Verkolje
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, Thbodob, born at Heidelberg in 1812,
was a painter of landscapes in oil, aquarelle, and
sepia. His subjects were often taken from the
neighbourhood of his native town, and he largely
contributed to an 'Album of Heidelberg,' litho-
graphed by Lemercier. The S. Kensington Museum
possesses a snow scene by him. He died in 1872.
VERHEIJDEN, Fkans 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 his 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. HissonFBANS,
also a painter and sculptor, died the same year.
VERHEIJDEN, Matheus, probably the son of
F. 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 Terwesten and Constantine 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 are
unknown out of Holland.
VERHEIJEN, Jan Hendrik, a Dutch landscape
and architectural painter, born at Utrecht in 1778.
He began life as a notary, but took to painting at
the age of 21. He died 14th January, 1846. There
are two pictures by him in the Rotterdam Museum.
VERHELST, Egidius, the younger, (or Veeelst,)
was bom 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, Dusseldorf, Mannheim, and other cities.
At Augsburg he learnt engraving under Rudolph
Starkel. He was appointed Professor of Design
to the Academy of Mannheim, and a member of
that of Dusseldorf. Being desirous, however, of
further improvement, he went to Paris, and placed
himself under the direction of J. G. Wille. 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 may name the following :
Charles Theodore, Elector of Bavaria. 1790.
Elizabeth Augusta, his consort.
Clement "Wenceslaus, Elector of Treves.
A. TV. Iffland.
Five plates for a Translation of Tasso's 'Jerusalem
Delivered.'
Two Heads, ' Innocence and Simplicity,' for Lavater.
656
VERHEYDEN. See Verheijden.
VBRHOEK, GlJSBBRT, (or Gilbert,) was bom
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, PiETEB CoBNELls, a Dutch painter,
was bom at Boodegrave in 1633. He first studied
under Jacob Van der Ulf t, 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 bom at Rotterdam in 1648, seems to be
identical with the above.
VBRHOEVEN, Jan, a Flemish painter, bom
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 his liand.
VERHUIJK, Cornelis, (Verhtjtk, Verhuits,
&c.). See Verhoek, Pieteb Cornelis.
VERHULST, PiETEK, 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-
lino, who entered the Guild of S. Luke at Bruges
in 1480. No further details of his life are known.
VERKOLJE, Johannes, (Vebkolie, or Veb-
KOLiE,) born at Amsterdam in 1660, w^as 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
him 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 Lievens, 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 J*
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
much at engraving. He died at Delft in May,
1693. Works:
Amsterdam. Musmm. The Family Concert. 1673.
Dresden. Gallery. The Trumpeter and the Lady.
Verkolje
PAINTERS AND ENGRAVERS.
Vermeersch
Paris. Louvre. Mother with Infant ia Arms.
Petersburg. Hermitac/e. An Entertainment.
Botterdam. Museum. The Sportsman.
„ „ Yenus and Adonis,^
The Messenger. (Baron G. de Sothschild.)
Jan Verkolje was one of the earliest mezzotinters
in Holland. The following prints by him may be
named :
TrVilliam III. | 'William Henry, Prince of Orange.
Stephen "Wolters, Amator Artium. ; after Kneller.
Hortensia Manoini, Duchess of Mazariu ; after Lely. .
His own Portrait ; after De Leev.w.
Diana and Calisto ; after Casp. JVeischer.
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, biit
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 Werfi.
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 me;5zotint engraver. The follow-
ing are his principal plates ; they surpass those of
his father :
Bernard Picarfc ; after Wattier.
Jan Pieter van Zomer ; after A . Boonen.
The Holy Family ; after Ad. van der Wer;ff.
Diana and Bndymion ; after Cas. j}i'etscher.
Bacchus and Ariadne ; after the same.
A Shepherd and Shepherdess ; after the same.
An Entertainment in a Garden ; after J. B. Weenix.
VERKRUYS, Thbodoor, called in Italy Della
Cbocb, 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, Fbanoesco, (or Veelo,) of Vicenza, was
a third-rate scholar of Squaroione, and lived in
the early part of the 16th century. In the Brera
at Milan is a ' Virgin and Child,' painted by him,
dated 1611. A picture by him at Schio is inscribed
Frandscus Verliis de Viceniia pinxit XX Junii
MDXII. Another work of his is at Sercedo. It
is probable that Francesco VEiinzio, 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.
VERLINDE, PiEREE Antoine Augtjstin, a
French painter, born at Bergues-Saint-Winoo,
January 20th, 1801. After studying for a time
under GiT^rin, iir Paris, he became the pupil of
Ducq and of Van "Br^e, and settled in Belgium.
He painted portraits, historical subjects,' and pano-
ramas, and in 1829 became Professor at'the Acadeniy
of Antwerp, in which cityhe died on March '29th,
1877.
VERMEEE, Johannes, commonly called Vek-
MEER, or, incorrectly, Van deb Me|;r, of Delft,
was bom at Delft, where he was baptized on
October 31, 1632. He has been called the pupil of
Karel Fabritius."'As Fabritius was only inscribed
VOL. II. u u
in the books of the Delft Guild on October 29, 1662,
as a stranger, and as Vermeer himself was admitted
a master on December 29, 1663, the connection
between the two in this capacity must have been
short. It is likely that Vermeer also studied under
Leonard Bramer, but the art of Pieter de Hooch
shows more afBnity to his than that of any other
master. Substitute a predilection for blue to one
for red, and a Vermeer becomes very like a Do
Hooch. In 1653 he married one Catharina Bolenes,
of Delft. In 1662, 1663, 1670, and 1671, Johannes
Vermeer was one of the chiefs of the Delft Guild.
The date formerly given for his death was 1696.
It has now, however, been discovered that he was
buried at Delft on December 16, 1675, and that he
left eight children, all under age. Twenty of his
pictures, including the famous ' View of Delft,'
were sold at Amsterdam on the 16th of May, 1696.
He painted portraits, genre pictures, landscapes,
and town views. His existence was in danger of
being forgotten, and many of his works were
ascribed to others, when the late ''W. Burger' (Th.
There) devoted himself to the revindication of his
fame. Vermeer's pictures are very scarce and
costly. Among them we may name :
Amsterdam.
Berlin.
R. Museum.
Six Coll,
Museum.
Brunswick.
Brussels. Arenberg Gal.
Dresden. ~
Florence.
Hague.
London. Bischoffsheim C.
New York. Mr. Mar-
quand.
Paris. Louvre.
„ M. Secretan.
Petersburg. Hermitage.
Yienna.
Bemidoff Col.
Museum.
„ Czernin Col.
'Wiudsor Castle.
Young 'Woman reading a Letter.
Street in Delft.
Young 'Woman pouring out
Milk.
Boy blowing Bubbles.
Young Lady with Pearl Neck-
lace. (Signed. )
Country Hoiise with Outbuild-
ings and Figures ('0-
The Girl with the 'Wine-Glass.
Female Portrait. .
The Courtesan ; an officer em-
bracing a young woman, and
giving her money : a man and
an old woman in the back-
ground; life-size half-length
figures. (Signed.)
Girl reading a Letter.
Soldier and Laughing Girl.
View of Delft. (Signed with a
monogram.)
Girl playing the Guitar.
Girl at a Window.
The Lace-'Worker.
Two pictures.
Two landscapes. (Signed.)
Dutch Family in a Garden at
r>em(? Be Hooch).
Vermeer in his Studio.
The Music Lesson.
Vermeer usually signed himself J. V. Meer, the
J. V. and M. being combined into a monogram.
For a complete list of pictures ascribed to him
see H. Havard, 'Van der Meer de Delft,' Paris,
1888.
VERMEERSCH, Ivo Ambros, was born at Mal-
deghem, near Ghent, in 1810. When a boy he
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 Noter,
at the Academy. In 1841 he moved to Munich,
whence he made repeated tours in Italy. He died
in 1862. 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.
657
Vermeijen
A BIOGRAPHICAL DICTIONARY OF
Vemet
VERJIEIJEN, Hendeik. This painter is be-
lieved to liave been the son of Jan Cornelis Ver-
meijen. He settled at Cambrai, and became the
ancestor of a long line of second-rate artists.
VERMEIJEN, Jan Coenelis, (Vermeyen, Vee-
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, Coenelis Ver-
meijen, who flourished in 1490. His work seems
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 be attended in many
of his expeditions. In 1635 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 of ten tapestries, two being
omitted, was made from these cartoons in 1712, for
the Emperor Charles VI,, and are now at Schon-
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 he painted picti:res
for the churches and public buildings, which are
favourably mentioned by Van Mander, They 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
Charles 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 ! This, though
the wearer was a tall man, used to trail on the
ground, and the Emperor, when in a playful mood,
would condescend to tread upon it 1 Hence the
names of Barbudo, Hans with the Beard, &c.
Vermeijen was an engraver. BruUiot describes
four of his etchings. He also gives his cipher,
thus, rp , which properly signifies Jean Cornelisz,
and is to be found on the following prints :
The Tirgin and Infant accompanied by an Angel. 1545.
A Man duped ; composition of several half-length
figures. At the bottom is inscribed. Sic Hispana Ve-
nus loculos excantat aiiuindo, sic fucata rapit bastia
Stvltus amans. 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. (PMHppus Hex Anglorum.)
„ „ (Equestrian portrait,)
Henry II. of France. 1555.
Venus and Cupid.
VERMEULEN, Andeies, painter, and son of
Cornelis Vermeulen the younger, was born at
Dordrecht in 1763, and instructed by his father.
His subjects wore landscapes with figures, horses,
658 !-.&.,
and cattle. He also painted winter 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
are his portraits, for his drawing was not sufiBcienlly
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 Larrey's History of
England, Scotland, and Ireland.
Catherine Howard ; for 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.
"WiUiam III. ; for the same.
Marie Louise of Orleans ; after Rigaud.
Louis de Luxembourg, Marshal of France ; after the
same.
PhiHp 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 Miguard, Painter ; from a picture by himself.
Bacchus and Erigone ; after Gruidv ; for the ' Crozat Col-
lection.'
Marie de Medicis escaping from the city of Blois ; after
the pictiure by Rubens, in the Louvre.
VERMEULEN, Coenelis, the younger, father of
Andries Vermeulen, 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 1675. 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 Eigaud, 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. Louis, 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
FEANgois, was his pupil and assistant.'
VERNET, Antoine, a deoorarive painter, bom
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 1753.
Vemet
PAINTERS AND BNGEAVERS.
Vemet
VERNET, Antoine Charles Hobace, generally
known as Cable Vebnet, was the son of Claude
Joseph Vemet, and was bom at Bordeaux in 1758.
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
liim to France. Returning with vigour to his
negleoted art, he produced a painting of ' The Tri-
umph of Paulus iEmilius,' 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 htho-
gi'aphs and drawings, among the latter those from
the Italian campaigns, which were engraved by
Duplessis-Bertaux. Carle Vemet died in Paris
November 28, 1836. The following may be cited
among his principal paintings :
The Battle of Marengo. ( Versailles.)
The Mommg of Austerlitz. 1808.
Napoleon before Madrid. 1810.
The Taking of Pampeluna. 1820.
The Castle of Eivoli. ( Versailles.)
Stag Hunt. (Louvre.)
The Walls of Home.
VERNET, Antoine Ignace, Antoine Fbanqois,
and FEANgois Gabeiel, the three brothers of Joseph
Vemet, were natives of Avignon. Ignace was
born in 1726, and died about 1775. He settled at
Naples in 1746, and painted chiefly marine subjects,
and eruptions of Vesuvius. FBANgoiS, 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. Fbanqois Gabeiel, 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 Vemet, 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
DU2
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
manner resembling that of Salvator Rosa, and
worked in that style for the Farnese Gallery and
Rondamini Palace. In 1745 he married CeciHa
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 finished, 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 Hoeace, 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
official 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 olstained for him the post of military
draughtsman at the seat of war. So early as 1812
Vemet 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
B'arridre 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
659
Vernet
A BIOGRAPHICAL DICTIONARY OF
Verona
made it politic for Vemet 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 Barhari ' (the Carnival race-horses). After his
return to Paris in 1822, he produced the ' Defence
of the Barriere de Cliohy,' 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 exhibition
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
Freucli Academy at Rome, and remained at the
Villa Medicis 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 nmseum, and who inaugurated the great
' Gallery of Battles ' to^ccommodate his prot^gi'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 teri'ible blow to his hopes and prospects, but
uuder 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 III., 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 ceuvre 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.
]?our Scenes from the Siege of Constantine in 1837.
The camaieu decorations in the ' SaUe de Crimce.' p,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 Pesaro 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 Louis, a French marine and
660
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
foremost place among modern French artists. His
subjects were taken principally from the Norman
and Breton coasts, bat he also produced some views
of Venice and Dordrecht, and studies of the Cornish
coast, and the Thames 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 lithography, and
received the cross of the Legion of Honour in
1881.
VERNIER, Paul BAETHiLEMT, a French painter
and lithographer, born in Paris in 1830, was a
pupil of Drolling, and exhibited portraits at the
Salon in 1857 and 1861. He died at Marlotte in
1861.
VERNON, Jean de. See Letellier.
VERNON, Thomas, engraver, was- born in Staf-
fordshire, 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 Lis special branch of
art met with 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 Baphael.
Virgin and Child ; after Dyce.
Princess Helena ; after Winterhalter,
Lady Constance Grosveuor ; after the same.
Olivia Unveiling ; after C. R. Leslie.
The First-born ; after Cope.
Christ healing the Sick ; after Murillo.
VEROCCHIO, (Vekrocchio). See Del Vebroo-
CHIO.,
VERON, Alexandre Paul Joseph, called Belle-
court, painter, born in Paris in 1773, was a pupil
of David and of Van Spaendonck. 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 Emperor 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 Cecohino.
VERONA, PiLiPPO 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 Locohis 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, Pabriano, has a 'Madonna between SS.
Peter and Nicholas of Bari,' by him, dated 1514.
The dates of his 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
Verona
PAINTERS AND ENGRAVERS.
Verschuringh
more advantage from the works of his kinsman,
Paolo Veronese, than from the instruction of his
master. He is said by Ridolii to have painted
with uncommon celerity, and to have particularly
excelled in fresco. Many of his works exist in the
public buildings of Venice, among them a ' Christ
bearing His Cross ' and a ' Crucifixion,' in the chapel
dedicated to St. Isidore, St. Mark's. Tlie same
church has two altar-pieces, a ' Deposition from
the Cross,' and a ' Resurrection.' He also painted
several pictures for the cathedral at Udine, and for
churches in his native city. He died in 1618.
VERONA, MiCHELB 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, ai-e 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. Nat. Gallery. The meeting of Coriolanus
with Volumnia and Teturia.
Verona. Gallery. Four heads of Saints.
VERONA, Niccol6 da. A fresco of the ' Virgin
with the Child and Saints,' in the Ognisanti at
Mantua, is signed with this name, and dated 1461.
VERONA, Stefano da. See Stefano.
VERONENSIS, Jacobus. See Caeaglio.
VERONESE, Alessandro. See Turchi.
VERONESE, BoNiFAZio. See Bonifazio I.
VERONESE, CLAnDio. See Ridolfi.
VERONESE, Giovanni Antokio, and Jacopo,
two painters of Verona. According to Vasari,
they were father and son, and Giovanni was the
brother of Stefano da Zevio.
VERONESE, LiBERALB. See Libeeale.
VERONESE, Paolo. See Cahari.
VBRRIO, Antonio, was born at Lecce, near
Otranto, in 1639. His master is unknown, but
as soon as he had made suflScient 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 Puy's 'Trait6 sur la Peinture.' Charles II.,
wishing to revive the famous tapestry worfis 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 neariy 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.
Queen Anne granted him an annual pension of
£200 upon his relinquishing work through failure
of sight. He died at Hampton Court, June 17,
1707.
VERROCCHIO. See Del VERnoccHio.
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 Eome. He became professor at
the Academy of Antwerp, where ho died in 1863.
Among his best pictures are :
Rebekah and Eliezer at the Well.
Ruth 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 Veeschudr,) painter,
was born at Rotterdam about 1630. 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 Museum 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 Verschhier, the brother of Lieve,
was a portrait painter. He died in 1691.
VERSCHURINGH, Hendeik, a Dutch painter,
born at Goroum 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 thB-teen 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,
661
Verscliurmgh.
A BIOGRAPHICAL DICTIONARY OP
Vertue
and Rotterdam. Verschuringh has left a few slight
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,/. 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. H. Verschuringh, f.
The Two Dogs ; a Greyhound with his head lifted up
as if howling, and a Dog couched, turning his head
towards the Hound. H. V. S, in a 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 Hendrik
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 1716. His son, Willem Ver-
SCHUEINGH the younger (1695—1769), was also a
painter, and practised at the Hague.
VBRSCHUUR, WouTEEUs, (or Waltek,) was
born at Amsterdam in 1812, and was instructed by
P. G. van Os and C. Steffielaar. In 1831 and 1832
he was premiated by the Felix Meritis Society at
Amsterdam, and afterwards became a member of
the Academy in that city. His pictures consisted
of landscapes, coast views, and horses, in Wou-
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. (Amsterdam Museum.)
Stormy Weather. (J)o.)
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, ViCTOE. 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 landscapes signed with his name
in the sacristy of the Augustine church in that
city. He is perhaps identical with the Veespilt
mentioned by Decanips.
VERSPRONCK, 'Cornelis Bngelszen, a painter
of Haarlem, was a pupil of Cornelis Corneliszen
and Karel van Mander. In 1593 he 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
Speonck, or Sprong,) 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 Speong, and
under that name, has been already inserted in this
dictionary.
662
VERSPRONCK, Jan, (or Johannes Spronck,)
the second son of C. B. 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.
VERSTAPPBN, Martin, was born at Antwerp
in 1773, and was first a pupil of P. van Rege-
morter and afterwards of Klengel, in Dresden.
Subsequently he 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.)
VERSTBEG, Maggiel, (or Versteigh,) a painter
of landscapes and interiors, was bom at Dordrecht,
August 30th, 1766. 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 effects 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 :
Amsterdam. B. Museum. A Music Party.
„ „ The Scullery Maid.
Lille. Museum. Interior (lamp-light).
Eotterdam. „ Old Woman spinning by Lamp-
light.
VERSTER, D. See Star, Dirck van.
VERSTRABLEN, 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 ofEcers 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 Cornells 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
Gallei-y 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 he was placed with a Frenchman
Vertue
PAINTERS AND ENGRAVERS.
Vettewinkel
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 terra he pro-
tracted to seven, engraving copper-plates for him,
when, having received instructions and advice
from several painters, he quitted his master on
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
1713, 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 Pinch, 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 afterwards a set of heads of Charles I. and
the sufferers in his cause, with their characters
from Clarendon. This was scarce finished, before
Eapin's History of England appeared, with por-
traits of kings and nds-de-lampe 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
Catholic 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-
q\iarian 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 Museum. 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.
VERUZIO. See Veela.
VERVEER, Aey Hubertsz, 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 Leonaedtjs, 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
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, B. Museum. Three Landscapes.
Rotterdam. „ Afternoon at Katwijk-ou-Sea.
VERVLOET, Fbancisous, 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, Eome.
Brussels. „ „ S. Maria Ntiova,
Naples.
VERVLOET, Jean Jos'eph, 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 Augustine Vekvloet,
also practised as a painter of flowers and fruit.
VERVOORT. See Van deb Vooet.
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. Barbara by him.
VERWEE, Louis Piebee, painter, born 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, Frans, was born at Rotterdam about
1620, and was a scholar of Cornells Poelenburgh,
of whose works he was a fairly successful imitator.
He died in 1691. The Amsterdam Museum has
the portrait of a son of Admiral van Nes by him,
and the Copenhagen Gallery a bathing nymph.
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
Eeverand, an enameller. After this he executed
a few enamels ; he continued, however, to practise
chiefiy as an oil-painter and miniaturist, and sent
many works to Parisian exhibitions between 1782
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 Veteiaeig). See Bemeo.
VETRIARIO. See Bembo, Gianfrancesco.
VETTEWINKEL, Hendeik, a Dutch painter,
born at Amsterdam, October 20, 1809, died there
663
Vexes
A BIOGRAPHICAL DICTIONARY OF
Vioentino
May 8, 1878. There is a sbipping scene by him
in the Eijks 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.
VilZE, 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 Xlll. One of her daughters married
the painter, Frangois Tortebat, and another Michel
Dorigny, the engraver. She died in 1638.
VIA, Aless. della. See Bella Via.
VIALY, Louis Een^ de, (or Viallis,) was a por-
trait painter, 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 1765, 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,
Lorenzo de Viana, held office as painter to
Phihp in.
VIANEN, Jan van, a Dutch engraver, was born
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, Paulus 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 was 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 born- 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, Domenioo Maria, the son of Giovanni
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
study from the Venetian masters. In the church
of La Nativitk, at Bologna, there is a series of
664
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, vsras 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. Pilippo 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 AmdbaU Carracci.
Dido ; after the same.
S. Francis with the Infant Christ in his arms ; after
Zodovico 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, Victor, an engraver, was bom 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 Lyons, 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 convent of the Augustines, an altar-piece
for the church of S. Lorenzo, and a ' S. Peter in
Prison,' for the University. He died at Saragossa
in 1700.
VIOENTINO, Andrea. See Dei Miohieli.
VICBNTINO, Antonio. See Visentino.
VICENTINO, Battista. See Pittoni.
VICENTINO, Francesco. See Maffei.
VIOENTINO, Francesco, a Milanese painter of
the school of Bernazzano, who flourished in the
16th century. He painted some pictures for Santa
Vicentino
PAINTERS AND ENGRAVERS.
Victor
Maria delle Grazie, at Milan, and other churches,
and Lomazzo praises the minute finish of a land-
scape by him.
i VICENTINO, Giuseppe Niccol6, called EosriG-
LiANi, an Italian painter and wood-engraver, was
horn at Vicenza about the year 1510, and was
working at Bologna about 1640. 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 Nemaean Lion ; after Raphael.
A Sibyl reading a Book ; after the same.
Venus embracing Cupid.
The Death of Ajax ; after Polidaro da Caravaggio.
Olelia escaping from Porsenna's camp.
He is often confused with Niccolo Boldrini.
VICENTINO, N1CCOL6. See Boldeini.
VICENZA, Pasqcalino db. See Rossi.
VICKERS, Alfred, an English landscape painter,
was born at Newington, Surrey, in 1786. He was
self-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
Suffolk Street from 1814 to 1868, and died in the
latter year.
VICKERS, Alfred Gomersal, 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
Suffolk Street, and at the British Institution. He
was commissioned by Charles Heath to make draw-
ings in Russia for publication in the ' Annuals.'
Eor 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, (Vicus, or Vighi,) engraver and
arcnseoiogist, was born at Parma in the year 1523.
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 1560 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 1657 a series of Empresses, with
their biographies. He also engraved a variety of
medals, and a set of thirty-six antique gems.
He died at Parma in 1667. 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 Aenea Vico Par-
maise, mbl.
Bust of Giovanni de' Medici, in a border. 1550.
Bast of Cosmo de' Medici, when young.
Bust of Alfonso II., Duke of Ferrara.
The Army of Charles V. passing the Elbe ; /rowi his
own design.
The Battle of the Amazons ; inscribed, Bellum Amazo-
num. 1543.
A Female Figure, with her arms extended, over which
appears an Owl ; after Farmigiano. 1548.
Vulcan and Venus (a free subject) ; after the same. 15-13.
Jupiter and Leda ; after Michelangelo.
A Bacchanaliau subject ; after the same.
Vulcan and the Cyclops ; after Primaticcio.
The Muses upon Parnassus.
Apollo and Cupid ; after Baceio Bandinelli.
The Academy of Baceio Bandinelli ; after the same.
The Conversion of S. Paul ; after F. Salviati.
The Battle of the Lapithse and Centaurs ; after the same.
1542.
Judith with the Head of Holof ernes ; after Michel-
angelo.
The Entombment of Christ ; after Saphael. 1548.
The Death of Lucre tia. 1541.
The Annunciation ; after Titian.
A set of twelve Vases; from designs by Folidoro da
Caravaggio.
A set of fifty plates of National Costumes ; from his
own designs.
VICO, Francesco, a Milanese painter of the
15th century, of wht>se birth or death no dates are
known. He is the author of two canvases in the
Milan Hospital, the one representing Francesco and
Bianca Maria Sforza kneeling before Pope Pius II.,
who gives them the Bull to build the Hospital, and
the other the same couple kneeling in front of an
altar before the Hospital.
VICTOOES, Jan, (Fictoorr, Fictoor,) a Dutch
painter, was born 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 (g. 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 :
Amsterdam. Ji!. Museum.
Antwerp.
Brunswick.
Museum.
Gallery.
1632.
Copenhagen.
Dresden.
Louvain.
London.
Munich.
Paris.
Museum.
Bridgewater
Gallery.
Gallery.
Louvre.
Joseph interpreting
Dreams. 1648.
The Dentist. 1654.
The Pork Butcher.
Village Wedding.
Esther and Haman.
David and Samuel.
Capture of Samson.
Kuth and Boaz.
{And three others.)
The Finding of Moses.
The Prophetess Anna.
h Tobias blessing bis Son.
Tobias recovering his
1651.
Portrait of an Old Man.
Isaac blessing Jacob.
Young Lady at a Window,
the
1653.
1643.
Sight.
VICTOR, Jakob, (or Giacomo,) 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 iho
665
Victor
A BIOGRAPHICAL DICTIONARY OP
Viel
i;%(alogue to Hondeooeter, whose forged signature
apj.ears ii] on it.
, VICTOR. Johannes. See Wolfvoet.
VICTORIA, Vicente, was born at Valencia in
10.58. lie 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
schotar of Carlo Maratti, and studied from Raphael
and the antique. He was appointed painter to the
court of tlie Grand Duke Cosmo of Tuscany, whose
portrait he painted. He aftenvards settled at
Xaliva, in Valencia, where he painted pictures for
the churches and convents of Valencia; and wrote
poetry, as well as part of n ' 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 ; nfter Raphael.
The Last Supper ; after Ciro Ferri.
The Resurrection ; after the same.
VICUS. See Vico.
VIDAL, Diego, 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 1616. He
was called ' the elder ' to distinguish him from his
nephew, Vidal de Liendo.
VIDAL, DiONisio, was born 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
died at Tortosa while employed on the chapel of
Nuestra Sefiora de la Cinta. The year is unknown.
VIDAL, Felipe, engraved, in 1741, the arms of
Loroa for Morote's history of that city. He like-
wise furnished the plates to the work of Ciistobal
Rodriguez on Spanish polygraphy.
VIUAL, G:fiEADD, a French engraver and etcher,
was born at Toulouse in 1742. He resided chiefly
in Paris, where he 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.
Einaldo 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
b'rds, 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 DE LIENDO, Diego, Ciilled Vidal the
YOUNGEK, born at Valmaseda in 1602, was a nephew
666
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 di\-inity. 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 triumphing over Satan.' Vidal died at
Seville in 1648. He possessed a fine collection of
pictures.
VIDAL, Vincent, a French painter and pastellist,
was born at Carcassonne, January 20, 1811. He
entered the Ecole des Beaux Arts in 1837, and was
a pupil of Paul Delaroche, gaining in due course
medals of the 3rd and 2nd class, and the cross of
the Legion of Honour. His portraits, ideal heads,
and especially a large number of fanciful designs,
many of them suggested by Moore's ' Loves of the
Angels,' were very pojjular, and their delicate
draughtsmanship went far to atone for a certain
tameness and monotony in their execution. He
died in 1887.
VIEILLEVOYE, Joseph BaetheliSmt, a Flemish
historir'al and subject painter, was born at Verviers
in 1798. He studied in the Antwerp Academy,
and became dij-ector of that of Lifege. He died
in 1855. There is by him :
Brussels.
Museum. Head of an old Man.
VIBIRA, Feancisco, 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 manied, 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 alEliated to the
religious order of Santiago. In 1765 the wife for
whom he had encountei-ed 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. Many of 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 Galba.' 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
to his ovn 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.
^'IEL, Pierre, a French engraver, was born in
Vien
tAINTEES AND ENGEAVERS.
Vigevano
Paris in 1755. He was a pupil of B. L. Prevost.
His style of engraving was neat and finished ;
among his plates we may name :
The Judgment of Paris ; after Sottenhamer.
The Bath of Diana; after P. Mettay.
A pair of Landscapes ; after Ruysdael.
Peace bringing back Abundance ; after Le Brim.
Death of Adonis ; after P. Veronese,
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 ohurclies,
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 'Dasdalus and Icarus,' now in the
Louvre. Once within the charmed circle, his pro-
gress was rapid, and commissions flowed in upon
him thickly. His atelier was thronged with pupils,
amongst whom were Vincent, Suvde, 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 costumes 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. Museum. The Body of Hector carried
back to Troy.
Epinal. „ Parting of Hector and Andro-
mache.
Grenoble. „ Rape of Proserpine.
Marseilles. „ Jesus healing the Paralytic.
, „ Jesus healing the Centurion's
Sou.
Montpellier. „ S. John Baptist in the Desert.
„ „ S. Gregory the Great. 1766.
Nancy.
Museum.
Eeligion.
Nimes.
The Cruciiixion.
Orleans.
>,
Our Lord aud the Disciples at
Emmaus. 1759.
»
»
The Resurrection.
Paris.
Louvre.
S. Germain and S. Vincent.
1755.
M
it
Daedalus and Icarus. 1754.
?,
r
Sleeping Hermit. 1750.
,J
)J
Cupids, Swans, and Doves.
1758.
Eouen.
Museum.
Anger of Achilles.
A Prelate invoking the Virgin.
Versaille
. Petit Trianon.
S. Louis and Margaret of
Provence visiting S. Thi-
bault. 1774.
OJ.D.
VIEN, Joseph Marie, painter, and son of J. M.
Vien the elder, was born 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, THjfiRiisE, nee Rebodl, 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, with 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, 1805.
VIBNOT Nicolas, a French engraver who
flourished about 1630. He engraved small pliitea
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.
VIG:6e, Elisabeth Louise. See Le'Brun.
VIGBE, Louis, a French painter of the 18th
century, now remembered chiefly as tlie father of
Madame Vigee 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 largo 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
licole 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 1846 to 1879, in which
latter year he died in Paris. There are examples
of his work in the Museiun 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 Chanoeliers 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, AisiBROfiio 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 Cantu, painted in 1514. Crowe and
Cavalcaselle incline to the belief that he was
identical with theAmbrogio Bevilacqua, mentioned
by Lomazzo, 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 years. The Brera,
at Milan, possesses a ' Virgin and Child, between
667
Vighi
A BIOGEAPHICAL DICTIONARY OF
Vijl
King David and St. Peter Martyr,' signed Amhrogio
Bevilacqua, and dated 1502. The dates of his
birtli and death are alike unknown.
VIGHI. See Vioo,
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, ToMMASO DB, flourished in Palermo
between the years 1480 and 1497. His earliest
existing, work is a triptych belonging to the Duke
of Verdura, at Palermo, representing a 'Virgin and
Child, with four Saints,' dated 1486 ; and his latest
a 'S. Nicholas enthroned in a glory of Angels,'
dated 1489, in the church of San Niccolo Eeale,
Palermo. The ceiling of the church of the San-
tissima Annunziata, in the same city, is decorated
with a series of sixteen scenes from the life of the
Virgin, on canvas, by Tommaso. Other churches
in Palermo possess paintings by him. Crowe and
Cavaloaselle describe his work as " cold, careful,
and without power " (' P. in N. Italy,' vol. ii. p. 108).
VI6NALI, Jacopo, was born at Prato Vecchio
in 1592, and was a disciple of Matteo RosellL
His style resembles that of Guercino. 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.
VIGNAUD, Jean, a French painter, was born at
Beauoaire 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 fi-om 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 Amphion.' He died at
Ntmes, November 10, 1826.
VIGNE, Edoxjakd db, 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
Volsherghe. 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 Altfe. (Ghent Museum.)
VIGNE, Fi^Lix DE, painter, etcher, and art
writer, was born at Ghent in 1806. His father,
the decorative painter Ignace de Vigne, was 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 his own country,
and in France, England, and Germany. His 'Re-
cueils des Costumes du Moyen-age ' contains a
thousand illustrations drawn and etched by him-
self, with descriptive letterpress. He was a pro-
fessor of the Ghent Academy, and president of the
668
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, Pieree Rooh, a French painter and
lithograplier, was born 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
himself to the painting of genre pictures. 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
Richelieu. He studied first in Spain, and then in
Italy, where he attached himself to the stj'le of
Caravaggio. On returning to France he became
a pupil of Fr^minet, whose style he imitated
with some success. He died in Paris in 1670.
He was an art critic and a professor in the Academy.
His ' Christ with the Doctors ' is in the Grenoble
Museum, and his ' Baptism of tlie 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 Candace.
The Mitrtyrdom of St. Andrew.
The Crowning of the Virgin.
He is said to have been the father of thirty-four
children, and left three sons, Claude FRAKgois,
Nicolas, and Philippe, who were painters.
VIGNON, Henri FRANgois Jules de, painter,
was born at Belfort (Haut Rhin), October 11, 1816.
He entered the Eoole des Beaux Arts in 1831, and
was a pupil of Cogniefc 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 Mauperch^,
the painter, and of Mesdemoiselles de Blois et de
Nantes, daughters of Louis XIV. and Madame de
Maintenon. Ho 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, Cateeina, was born at Bologna in 1414.
She is called 'La Santa di Bologna,' having
been canonized in 1712. Slie practised painting
in her youth, and then entered a convent at
Bologna, whei-e 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 Uyl.
Vijt den Broeck
PAINTEUS AND ENGRAVERS.
Villemseiis
VIJT DEN BROECK. See Uutenbeouok:.
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 Est^ban March. In 1678 he settled
at Murcia, where he painted, a great number of
pictures for the churches and other buildings,
particularly for the convent of Santa Isabel, for
the monastery of San Domingo el Real, and for the
Bnfermaria 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 Allegro. 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 nis life he was paralyzed
in the hands. He died in 1765. He left a son
named Josef Viladomat, 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 de, 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.
VILLAFEANCA - MALAGON, Pedeo de, a
Spanish engraver and painter, wa§ born at Alcolea,
La Mancha, at the beginning of the 17th century.
He received instruction at Madrid from Vincenzio
Carduoho, 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, Calatrava, and Alcan-
tara. These he also embellished with portraits of
Philip IV., to whom he was, about 1654, appointed
engraver in ordinaiy, with a salary of one hundred
ducats. In the next three years he engraved ' The
Pantheon of the Bscorial,' 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, G^RAKD EtoAUD, a French engraver.
flourished about the year 1760. He engraved a
portrait of M. Dufour de Villeneuve, after Mau-
perin.
VILLAMENA, Feancesco, draughtsman and
engraver, was born at Assisi about the year 1666.
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
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 l^y^ij The following are
among his best plates :
Cardinal Bellarmin.
Christian IV., King of Denmark.
Galileo.
St. Tlieresa in her Cell. From his own desit/n.
Mary Magdalene 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 F&rrau Faenzone.
The Virgin and Infant Christ, with St. Francis ; after
the 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 Faolo Veronese.
This plate was begun by Agostino Carracci, and was
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 HONNEGOURT, (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, motuiments, human figures, and animals.
VILLAVICENCIO. See Nunez De Villa-
VICENOIO.
VILLEGAS MAEMOLEJO, Pedro de, was born
at Seville in 1520. He was a pupil of Vargas, and
also studied in Italy from the works of Eaphael.
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 Villbquin). See Ville-
QDIN.
VILLEMSENS, Jean Blaise, painter, was born
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.
669
Villeneuve
A BIOGRAPHICAL DICTIONARY OF
Vincent
Eeturning to Toulouse, he established himself there,
and in 1841 became Professor at the Art School.
He died at Toulouse, September 19, 1859.
VILLENEUVE, Louis Fe^d^hio, 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 Eosa,
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-
graphed excellent landscapes and sea-pieces, and
furnished many designs for Nodiei-'s ' France
Pittoresque,' and other illustrated works.
VILLEQUIN, Etienne, (or Villequain,) was
born 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, the Louvre has a ' Christ
healing the Blind Men of Jericho,' and Notre
Dame a ' S. Paul before Agrippa.'
VILLERBT, pRANQOis Etienne, a French water-
colour painter, born about 1800. He was a pupil
of Gue, and exhibited architectural views, chiefly
of French churches, at the Salon from 1831 onwards.
He died ip 1866.
VILLEREY, Antoine CLAnDE Feanqois, an
engraver, was born in Paris in 1768. He was a
pupil of Romanet, and engraved several plates for
the 'Mus6e Filhol ' ; a great part of the vignettes
for the edition of Voltaire published by Renouard ;
the ' Battle of Austerlitz' for the ' Concours
d^oenal'; '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 Deveria, for editions of
Voltaire and Moliere.
VILLEVIEILLE, L]^on, 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 u, promising-
career was out 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, PEAKgois Hoet, 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, Juan de, a distinguished painter of
Toledo in the 16th centuiy, studied under his
uncle, Alvar Perez de Villoldo, a scholar of Bor-
gona's. The chapter 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 Borgona and Amberes, ter-
minated in 1510. His series of forty-five 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
670
1551. Alvae Pebez 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 Wijngaeede.
VINCELET, ViCTOE, a French painter of fi-uit
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. !^tienne
has a fruit and flower picture by him.
VINCENT, Adelaide Labille-des-Veetus, was
born in Paris in 1749, and, was at first a pupil of
her father-in-law, Frangois Elie Vincent, and after-
wards of Latour. She first married a M. Guiard,
and after his death Franfois Andre Vincent. She
painted portraits, miniatures, &o., 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, Feanqois Andeb, the son of Fban-
(jois Elie Vincent, a clever miniaturist, was bom
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 Mol^ 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.deBeaucoLir, in his 'PeintreGraveur,' 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, Feanqois Philieebt, 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, Geoege, an English landscape and
marine painter, was born 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 first ap-
peared at the Royal Academy, to which he occa-
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
Vincent
PAINTERS AND ENGEAVEES.
Vinci
Street, where he last appeared in 1830. He is
believed to have died soon afterwards. Vincent
may be assigned the fourth place in the Norwich
school, after Crome, Cotman, and Stark. His
chef d'oeuvre is a masterly picture of Greenwich
Hospital from the north bank of the Thames. He
signed his pictures with a monogram composed of
his initials.
VINCENT, Henriettb, nee Eideau du Sal,
flower-painter, was a pupil of Spaendonck and
Eedout^, and was born 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 Eome about the year 1691. We may
name the following plates by him :
The Nativity, called ' La Notte ' ; after Gorreggio.
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.
Bancroft, Archbishop of Canterbury.
Lake, Bishop of Chichester.
Turner, Bishop of Ely.
"White, Bishop of Peterborough.
Boy and Girl.
Shepherd and Shepherdess.
VINCENZO DA SAN GBMItiNANO. 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
15th 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 Baptists, 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 Eome 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 — modern Greek
scene.
Enrolling the Volunteers of 1792.
The Dead Christ. {S. Vincent de Paul.)
VINCI, Leonaedo da, was bom in 1462, at the
Castello Vinci, in the Val d'Arno, midway between
Florence and Pisa. He was the illegitiinate son of
Ser Pier Antonio da Vinci, notary to the Florence
Signory. His mother, whose name was Caterina,
was afterwards the wife of one Aooatabriga di Piero
delVacca da Vinci. Leonard<i'seducationwas given
to liim in the house of his father. In his early
childhood he gave promise of the almost universal
genius he afterwards displayed. His favourite
occupations, however, were drawing and modelUng
in clay, and this fact induced Ser Piero to place
him, while still a child, with Andrea del Verrocchio,
as good a master as could then have been found in
Florence. In Verrocohio's studio, where Leonardo's
chief fellow-pupil was Lorenzo di Credi, he was
soon promoted to paint on his master's pictures.
In a 'Baptism of Christ,' ordered of Verrocchio by
the monks of Vallombrosa, Leonardo painted an
angel which, according to Vasari, was so much
better than his master's share of the work that
Verrocchio thenceforward renounced painting alto-
gether. Dr. Richter, however, Leonardo's latest
biographer (1879), is of opinion that his work was
by no means confined to the angel. In June 1472,
Leonardo's name was entered on the books of the
Florentine Guild as an independent painter ; his
name is there given as ' Lyonardo di Ser Piero da
Vinci.' Of his early pictures none can now be
surely traced. A cartoon for a ' Fall of Man,'
and the famous panel with the Medusa's head,
which is mentioned in all the books, have both dis-
appeared. A picture in the Borghese Gallery,
described by Vasari, and assigned by him to
Leonardo, is, in the opinion of modern critics, from
the brush of Lorenzo di Credi. It is possible,
however, that the scepticisin as to Leonardo's
authorship of many works ascribed to him, has
been carried too far, and that his style in youth
may have been peculiarly uncertain and various.
In 1478 Leonardo signed a contract for an altar-
piece for the chapel of St. Bernard, in the Palazzo
Pubblico at Florence. After carrying out a very
small part of the work, however, the commission
was transferred to Filippino Lippi, in whose
creation there is no trace of his predecessor. The
earliest undoubted work by Leonardo, which has
comedown to us, is the unfinished 'Adoration of
the Kings,' now in the UflSzi. To about the same
period belongs a small St. Jerome, in the Gallery of
the Vatican. Leonardo was among the artists ad-
mitted by Lorenzo de' Medici into his famous
garden near the Piazza di San Marco, and about
the year 1482 he was sent — if we may accept the
account of his anonymous biographer, which ap-
pears, on the whole, more probable than that of
Vasari — by Lorenzo to Duke Gian Galeazzo of
Milan, with the present of a silver lute.^ Belinzone
says that Leonardo was a sort of master of the cere-
monies at the wedding of Galeazzo with Isabella of
Calabria. Shortly after this we find him address-
ing to the Regent, Ludovico Sforza, the famous
report on his own talents, in which he declares
himself competent to undertake almost any task to
which a master could put a serviint. Leonardo re-
mained nearly twenty years in Milan, but what
he did all the time it is now hard to say. The
Duke apparently turned his genius to profit in any
capacity that was convenient for the moment, and
only a small part of his time seems to have been
given to painting and sculpture. Even taking
that into consideration, however, Leonardo was the
reverse of prolific. The one great work of his
which Milan still can boast is the famous ' Cena,'
in the refectory of the convent of Santa Maria
delle Grazie. It was commissioned, jointly, by the
monks and Ludovico, and like every one else who
employed Leonardo, they had the greatest difSculty
in getting the work completed. It was finished,
according to Luca Paciolo, in 1498. It is not a
fresco, as it has so often been called, but an oil
671
Vinci
A BIOGRAPHICAL DICTIONARY OF
Vinci
painting on plaster, and in its present condition
but little of Leonardo's work can be descried
upon it. Its original appearance may now, per-
haps, be best divined from the favnous copy in
the Diploma Gallery of the Royal Academy, whicli
is usually ascribed to Marco d'Oggionno. Dr.
Riohter thinlts it more likely to be by Gian Pietrini.
I In 1499 Louis XII. of France, after his defeat of
Sforza, visited Leonardo's masterpiece, and ex-
pressed his wish that it could be cut out of the wall
and carried back with him to France. Of the pre-
paratory studies for it, tlie most important are some
heads in red chalk and two pen sketches, in the
royal collection at Windsor. While the 'Last
Supper' was in progress, Leonardo was also at
work on the equestrian statue of Francesco Sforza,
of which nothing remains but preparatory sketches,
the best of which are at Windsor. His time was
also occupied with engineering projects, especially
with a scheme for regulating the beds of the Lom-
bard rivers, which has since borne good fruit, and
with plans for Milan cathedral. He also painted,
among other things, portraits of Lucrezia Crivelli
and Cecilia Gallerani, mistresses of the Duke,
which are not now to be identified. The picture
in the Louvre known as ' La Belle Ferronifere,' and
sometimes asserted to be the missing Lucrezia
Crivelli, is almost certainly by another hand. In
the British Museum there is an engraving of a
female head, in profile, crowned with ivy, and en-
circled by an inscription which reads : ACHA :
LE : VI : an abbreviation for Academia Leonardi
Vinoii. This points to the Academy, the fir.st of
its kind, founded by Leonardo in Milan, where
numerous pupils were trained in various branches
of art. Among the scholars who shared its advan-
tages were BeltrafEo, Luoa Paoiolo, Andrea Salai,
Francesco Melzi, Lomazzo, and Cesare da Sesto.
. On the downfall and captivity of Duke Ludovico,
in 1600, Leonardo betook himself to Venice, where,
however, his stay was short, as in 1601 we find
him in Florence, and agreeing with Novolaria, the
vice-general of the Carmelites, to paint a portrait
for the Marohesa Isabella Gonzaga. In 1602 he
was in the service of CiESar Borgia as engineer, a
post he only filled for about a year, as Pope Alex-
ander VI. died on August 18, 1603, when his son's
authority came to an end. Records of Leonardo's
activity during this year are extant in his journals
and note-books, and in six maps drawn up by him-
self, and now at Windsor. In 1603 he was- in
Florence, and contracted with the Servite monks
to paint an altar-piece for their church, Santa
Maria dell' Annunziata, but never got farther than
the cartoon, which is now in London, in the
Diploma Gallery of the Royal Academy. Early in
1504 he took part in the discussions as to the best
position for Michelangelo's 'David,' and imme-
diately afterwards entered upon that veiled contest
with Buonarroti which forms one of the oliief epi-
sodes of liis life. Both artists were commissioned
to paint picaires in the new Sala del Consiglio, in
the palace of the Signory. Leonardo chose for his
subject a supposed incident in the Battle of An-
ghiari, gained by the Florentines over the Milanese
on the 29th June, 1440. For some two years he
worked at the cartoon, and then began the picture
itself, but left it unfinished on discovering his pro-
cess to be untrustworthy. It is now chiefly known
through the famous ' Fight for the Standard,' en-
graved by Edelinck after a free copy by Rubens.
Leonardo's father, Ser Piero da Vinci, died on the
672
9th of July, 1604, as we learn from the MS. in the
British Museum ; while in a MS. at South Kensing-
ton occurs an account headed, ' Expenses for the
funeral of Caterina,' no doubt his mother. Here,
unfortunately, there is nothing to show the date.
To 1604 belongs the most famous of Leonardo's
easel pictures, ' The Portrait of Mona Lisa,' now in
the Louvre. This lady was the wife of one Zanobi
del Giocondo, and the daughter of a Neapolitan,
Antonio Maria di Noldo Gherardini. Leonardo is
said to have spent four whole years on the picture,
which Avas bought a few years after its completion
by Francis I., who paid for it the then extravagant
price of four thousand gold florins. About the
same time Leonardo painted the portrait of Ginevra
Benci, the famous beauty, and drew the illustrations
for his pupil Paciolo's book, ' De Divina Propor-
tione,' which was published in 1609. His more or
less immediate disciples at Florence included Fra
Bartolommeo, Pontormo, Baccio Bandinelli, Rhi-
dolfo del Ghirlandajo, Gianfrancesco Penni, 'Fer-
rando the Spaniard,' ' Jacopo the German,' Raifaello
d' Antonio di Biagio, and Riccio da Santa Croce.
Some years before 1509, probably in 1505, Leo-
nardo had returned to Milan, where he lived with
his pupil Melzi. In 1606 betook service under the
French king, whom we find writing in his favour
to the Florentine Signory in 1607. In that year
Leonardo twice visited Florence, where he re-
appeared in 1609, but in 1611 he was in Milan.
This we gather from two drawings at Windsor of
conflagrations in that city ; which, he notes, were
lit by the Swiss mercenaries. In 1613 Giovanni
de' Medici became Pope Leo X., and Leonardo was
carried to Rome in the suite of Giuliano, the new
Pope's youngest brother. From a note of his own,
we know that the master was accompanied by five
of his pupils — Giovanni (Beltraffio ?), Melzi, Salai,
Lorenzo, and II Fanfoia. In Rome no success
attended him as an aspirant for commissions, a
result which was much more likely due to the
want of confidence caused by his continual failure
to finish what he undertook, and by the equivocal
reputation he must have gained by such childish
experiments as those with wax and lizards de-'
scribed by Vasari, than by the intrigues which
have been so freely attributed to his rivals. In
1515 he was again in Milan, and it was, perhaps,
during this last stay in the city of which he was in
future to be accounted the brightest ornament, that
he painted ' The Madonna among Rocks,' now in
the National Gallery, of which there is a copy
in the Louvre ; and the ' Saint Anne ' in the
latter collection. Studies for both pictures are at
Windsor. A third Louvre picture, ' St. John the
Baptist,' may have been painted at the same time.
On the accession of Francis I. to the French throne,
Leonardo was confirmed in his oflBce, and from
1616 onwards he is said to have received a yearly
allowance of seven hundred scudi, and in that year
was established with his friend Melzi and some
of his old servants at the Chateau Cloux, near
Amboise. At Cloux he paited a 'Leda' and a
' Pomona,' both of which have vanished, and it is
within the bounds of possibility that the Louvre
' Saint Anne ' was painted there also, its design
being suggested by the cartoon now in our Royal
Academy. On April 23, 1519, Leonardo made his
will, leaving his papers to Melzi, his garden near
Milan to Salai and his servant Battista de Vilani,
and to his brother a sum of four hundred ducats
deposited in Santa Maria Nuova, Florence. His
Vinci
PAINTERS AND ENGBAVEES.
Vinit
death took place at Cloux, on May 2nd, in the same
year. The tradition that he died in the arms of
Francis has heen disproved by entries in the King' s
diaries, which show him to have been at St.Germain-
en-Laye on the day of th^ painter's death. The
grave_ of Leonardo has of late years been searched
for without result, but in the archives of the Eoyal
Chapel at Amboise occurs this entry : ' Fut inhnm^
dans le cloistre de cette %lise Mr. Lionard de
Vincy, nosble millanais, 1" peintre et ing^nieur
et architecte du Roy, meschasnisohien d'^stat et
anchien directeur de peinture du duo de Milan.
Ce fut faict le dovo« jour da aoust, 1519.' The only
authentic portrait of Leonardo is a red chalk
drawing by himself in the Turin Academy.
All the pictures by Leonardo which can he cer-
tainly depended upon have been already mentioned.
It is likely that some others ascribed to him are
really by his hand, but in no case is there sufficient
evidence, internal or external, to justify their inclu-
sion in a list of his authentic works. His drawings,
on the other hand, are very numerous. The finest
collection, by far, is that in the Royal Library at
Windsor. Leonardo was also a prolific writer.
The library of the ' Institat,' in Paris, possesses
fourteen volumes of his manuscripts ; Milan has
the ' Codex Atlanticus ' ; and in England there are
as many as in the rest of Europe put together.
Most of these are at Windsor, others in the British
Museum, the South Kensington Museum, the col-
lections of Lord Ashburnham, and the Earl of
Leicester. Leonardo was left-handed, and wrote
from right to left, which makes his MS. difficult to
decipher. His famous 'Trattato delia Pittura '
was published in an abridged form in 1650, in
Paris ; and in full, in 1817, in Rome. But the
bulk of his MSS. remained inaccessible until 1883,
when Dr. Richter published them in London, in
two 8vo volumes. To the same writer, who has
devoted nuich of his time to an exhaustive study
of the master's life and work, do we mainly owe
our present notion of Leonardo's career. W. A.
BIBLIOGRAPHY.
Carlo de Blasis, ' Leonardo da Vinci.' (Milan, 1872.)
P. Bocca, ' Leonardo da Vinci.' ('Milan, 1872.)
F. Turotti, ' L. da V. e la sua Scuola.' (Milan, 1857.)
G. Uzielli, ' Eicerche intorno a L. da V.' (Florence, 1872.)
Carlo Amoretti, ' Memorie storiche su la vita, gli studj
e le opere di L. da V.' (Milan, 1874.)
Giuseppe Campori, ' Nuovi documenti per la vita di L.
daV.' (1865.)
Giorgio Vasari, ' L. da V.,' vol. iv. pp. 17—5.3. (Mila^
nasi ed., Florence, 1880.)
' Trattato della Pittura di L. da V.' (Paris, 1650.)
Ch. Clement, ' Vie de L. da Vinci.'
L. Courajod, ' L. de V. et la Statue de Fr. Sforza.'
(Paris? 1879.)
Arsene Houssaye, ' Histoire de L. da V.' (Paris, 1869.)
M. J. BigoUot, ' Catalogue de I'osuvre de L. da V.'
(Paris, 1849.)
A. F. Rio, ' L. da V. et son fcole.' (Paris, 1855.)
Aug. Hagen, ' L. da V. in Milan.' (Leipzig, 1840.)
Hermann Grothe, ' L. da V. als Ingenieur und Pbilo-
soph.' (Berlin, 1874.)
Lady Eastlake, ' Five Great Painters.' (London, 1383.)
J. F. Kigaud, ' L.'s Treatise on Fainting, with life.
(Bohn's Library ; London, 1877.)
M. M. Heaton (Mrs.), 'L. da V. and his Works.'
(London, 1874 )
J. P. Kichter, ' The Literary "Works of L. da V. (with
a translation into English).' (London and Leipzig,
1883.)
J. P. Biohter, ' Leonardo.' (' Great Artist ' Series. Lon-
don, 1880.)
J. P. Bichter, ' Italian Pictures in the National Gallery; '
pp. 101—104. (London. 1883.)
VOL. n. X X
Giov. Morelli, ' Italian Masters in German Galleries.'
(Tr. by Mrs. Bichter ; London, 1883.)
' LermoUeff ' (Gio. Morelli), ' Die Galerie Borghese ; ' in
the Zeitshrift fir Uldende Kunst, vol. x., 1875.
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, T0MMAS0,( ViNoiDOR,) painter, called
ToMMASo DA Bologna, was the pupil of Raphael,
whom he is said to have helped in the execution of
the 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 a friendship with Albrecht Diirer (1521); the
German master painted his portrait, and refers to ^
him in his ' Journal ' under the name of Thomas
Polonius. Vincidor is further said to have heen
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
1636.
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 Bnieghel, and appear to
have been painted in 'the early part of the 17th cen-
tury. His portraits are known only by engravings.
VINCKEBOONS, David, (Vinckebooms, or
ViNCKENBOOMS,) bom at Mechlin in 1578, was
the son of Philip Vinckeboons, (an obscure painter
in distemper, who went to Antwerp in 1580, and to
Amsterdam in 1587,) by whom he was taught tlie
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
hearing 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 Couple' ; these
he usually marked with a monogram, composed of
a i), a F. and a B. The British Museum has
four pen drawings by him, washed with Indian
ink, from the story of the Prodigal Son.
VINIT, Charles Lj^qn, 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
673
Vinkeles
A BIOGRAPHICAL DICTIONARY OF
Vissoher
Toulouse Museum has a view by him of the fioole
des Beaux Arts, and the Nlmes Museum a copy by
him of Panini's 'St. Peter's, Rome,' now in the
Louvre.
YINKELES, Eeinier, 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 dbr Vinne.
VINSAC, Claude DoMiNlQnB, 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 1837, 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
Vigna of 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, Pieeee, 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 •• he 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, born in
Paris in 1817, was a pupil of L^on Fleury, and
exhibited at the Salon from 1844 to the year of his
death. His works were landscape views, chiefly
of French coast scenery, and gained three medals
at the Salon. He died in Paris in 1878.
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, Theodooe.
VISAGCL SeeCiMATOEE.
VISCH. SeeDEVisoH.
VISCHER, Cohnelis, 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
674 "^
is a portrait of a man by him, inscribed : Aetatis suce
62 A" 1574. Arsprohat virum. A portrait by
him of William I. Prince of Orange lying in State,
now at Amsterdam, is dated 1584.
VISCHER, Peteb, called Vischee von Wilden-
STEiN, an engraver, was bom at Basle in 1779.
He was a pupil of Peter Biermann, and etched
some good original landscapes. He died in 1851.
VISCHER, ViNCENZ. See Fischee.
VISENTINO, Antonio, painter and engraver,
was born at Venice in 1688. He was a pupil
of Canale, in whose manner he painted and etched
architectural views of Venice, to which Tiepolo
and Zuocarelli sometimes added figures. He died
in 1782, Among his plates are a series of forty
after his master, Canale.
VISING, II , has been 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.
VISO. See Del Vise.
VISPEE, FsANgois Saveeio, 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.
VISPRB. Victor, a French miniature painter,
horn towards the middle of the 18th centuiy. He
was the brother of Prangois 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 born 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. Co7m. Visscher fecit, anno 1651.
Andreas Deonyszoon AVinius, called ' The Man with the
Pistol.' The scarcest and most valuable of his por-
traits.
GelliuB de Bouma (Giles Boutma), Minister at Zutphen.
William de Ryck, Oculist, of Amsterdam, These two
portraits are commonly called ' The great Beards,'
Cornells 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 Brandwyck, &c.
Constantino Huygens, Lord of Zuylichem. 1657.
Visscher
PAINTERS AND ENGRAVERS.
Vitalba
Lieven Tan Coppenol, called the Writing-master. 1658.
AViUiam, Prince of Orange ; after G. Honthorst. 1649.
Mary, Daughter of James I., Princess of Orange ; after
the same. 1649.
Prince Charles, afterwards King of England ; after the
same. 1650.
The Pancake-woman. From his own design.
The Eat-catcher. Do.
The Gipsy Woman, with three Children, one of
which she is suckling. Do.
Boy holding a Candle, and Girl with a Mouse-trap. So.
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
JBassano.
Abraham's Arrival at Sichem ; after the same.
Susannah and the Elders ; after Guide.
A Woman's Head ; from a Parmese picture.
The Entombment ; after Tintoretto.
The Eesurrection ; cfter Paolo Veronese.
The Holy Family, with S, John presenting a Pear to
the Infant Christ.
The Last Judgment ; after Bubens.
A Madonna crowned by Angels ; afterjhe same.
Achilles discovered by Ulysses at the" court of Lyco-
medes ; after the same.
The travellmg 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
figiires, and in front, a pair of skates, from which the
print has obtained its name.
The Surgeon; after A. Brouwe/r.
Man playing the Violin, others singing ; «/if«' the same.
The Attack on the Convoy ; after f. van Laar.
The Coach robbed ; after the same.
The Lime-kiln ; after the same.
A set of four Landscapes ; after Berchem.
Another set of four Landscapes ; after the same.
A very fine collection of tlie works of Cornelis
Visscher is in the British Museum.
' VISSCHER, Jan, the younger brother of Cor-
nelis Vissoher, 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
Cornelis, and his style of etching is uncommonly
picturesque and effective. His prints after Berchem
(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 TJytenbogaert ; Joh. de Visscher sc.
Abraham van der Hulst, Vioe-Admiral of Holland.
Peter Paul Bubens ; after Van Dyck.
Admiral de Euyter ; after Berehmans.
A Negro, holding a Bow and Arrow in his hand ; after
Cornelis Visscher.
Peasants playing at Trictrac ; aftei' 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 Pea.sants 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
same.
A set of six plates of Figures and Animals ; after K. du
Jardin.
A set of four plates ; after F, van Laar,
Several Landscapes, &c. ; after Fh. fVouwerman.
A set of twelve Landscapes ; after J. van Goyen.
A set of twelve Landscapes ; after Herm. Swanevelt.
VISSCHER, Claes Jansz, an engraver and print-
seller, was born at Amsterdam in 1580, and
XX 2
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, ■^.; the first letter for
Glaes, which is an abbreviation of Nicholas. Of
the large number of plates inscribed C. J. Visscher
exc, many were no doubt only pubhshed and
sold by him. The following are some of his own
works :
Charles I., King of England, in around 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 neighbour-
hood.
A View of the Castle of Lowenstein,
A set of Landscapes, with Views of the Castles of
Abcou, Pymerendt, Muyden, and Toatenbvu:g.
A set of four plates from the Story of the Prodigal
Son ; after Vinckehoons.
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,
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. Vissoher, Nicolaus Joannis Visscher,
or Nic. Jo. Piscator.
VISSCHER, 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
Fran9ois 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&ese, Queen of France ; after Van Loo.
Anne of Austria, Queen of France ; after the same.
Jan de Wit, Pensionary of Holland ; afterj. 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. Bo.
VISSCHER, Theodooe, 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, Dblla (Vite). See Della Vite.
VITALBA, Giovanni, was an Italian engraver,
who was born about the year 1740. He was a
675
Vitale
A BIOGRAPHICAL DICTIONARY OF
Vivarini
.pupil of Wagner, whose stylo 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 Satjnrs ; after Affoslino Carracci.
' Spring ' and ' Summer ' ; after Fil. Lauri.
Herodias with the Head of St. John ; after L. Pasinelli.
VITALE. See Cavalli.
VITALT, Alkssanduo, born at Urbino in 1580,
was a scholar and imitator of Eederigo Barocci,
who was so pleased with his talent that he painted
on some of his pictures. Vitali died in 16'iO.
VITALI, Candido, was born at Bologna in 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, GlosEFFO, was a native of Bologna,
and flourislied about the year 1700. He was a
scholar of Giovanni Giuseppe dal Sole, and painted
historical subjects. 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
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, PiETRO and Tim. della, (or Viti). See
I>ELLA VlTE.
VITELLI, (or Vitel). See Wittel.
VITBRBO, Lorenzo di. See Lobenzo di
VlTEEBO.
VITO, San. See Amalteo, Pomponio.
VITRINGA,WiQER[JS, 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.
VITTINGHOFF, 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 'jEsop's
Fables.' He died in 1826.
VITTORE BBLLINIANO. See Beluniano.
VITTORB 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 highly probable, as
pointed out by Crowe and Cavalcaselle, that he
was identical with Vittore Belliniano {q.v.).
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.
676
VITUS, DoMENico, an Italian engraver, was bom
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-
umhrostB Monachus excidit RovuB. 1576.
St. Joachim holdiug a Censer ; after A. del Sarto.
Jupiter and Calisto ; inscribed, Dominicus J\ 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.
VIVAR^feS, FBANgois, 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
Balechou 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 fifty prints ; among them
the following :
A set of four Views of Euins ; after J. Smith {of
Chichester).
Eight Views in Derbyshire ; after TJios. Smith ofDtri'i/.
A Landscape, called the Hop-gatherers ; aftei- Geo.
Smith (of Chichester).'
A Landscape ; after Gainshorough.
A View in Holland, by moonlignt ; 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 ; aftei- tlie 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 Fiangois 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 Mdrano,
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 largo 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
PAINTERS AND ENQEAVERS.
Vivarini
VIVARINT, Antonio, more properly Antonio
DA MuRANO, was an Italian painter of the first
half of the 15th century, who flourished at Murano,
and who, together with his partner, Griovanni da
Murano (Johannes Alemannus), must be looked
upon as the founder of the school of Murano. The
date at which tlie partnership began is uncertain,
and it is not known whether they practised else-
where than at Murano or no. Their works, how-
ever, seem to clearly prove the influence of Gentile
da Fabriano and of Pisano. Antonio was a native
of Murano, and a member of the artist family after-
wards known as the Vivarini, while the theory
that Giovanni was a member of the school of
Cologne is fairly supported by the characteristics
of his art. The Italian Giovanni da Murano, to
whom the later works of Johannes Alemannus have
been ascribed, is now allowed to be a myth, created
by that common form of artistic chauvinism which
demands a native founder for a national school.
The two painters signed their names jointly
Johannes el -Antonius de Muriano. Later the
signature varies, and appears as Johannes Aleman-
nus et Antonius de Muriano. Under the first
signature there is a large ' Coronation of the
Virgin,' in the Venetian Academy, dated 1440,
which has, however, been much damaged by
restoration. The Commendatore Morelli, we may
note, believes this picture to be merely a copy of
the one mentioned below, as now in the church of
S. Pantaleone, and the signature to be forged. A
Madonna Enthroned with Angels, and four Fathers
of the Church, dated 1446, is in the same gallery,
and bears the second inscription. Other works
produced during this partnership are: an altar-
piece in fourteen compartments, in the Brera, re-
presenting the Virgin and Child, with a Bene-
dictine monk kneeling before her, and numerous
Saints; and three altar-pieces in the sacristy of
the church of S. Zaooaria at Venice — two dated
1443, and the third 1444. Of works painted
by Antonio alone the following are known : an
' Adoration of the Kings,' in the Berlin Gallery, an
early production, probably painted before his con-
nection with Giovanni, and showing the influence
of Gentile da Fabriano ; SS. Peter and Jerome,
in the National Gallery; 'The Coronation of the
Virgin,', a large altar-piece in the church of S.
Pantaleoneat Venice, signed and dated 1444. This
last has been much repainted. In 1450 Antonio
seems to have parted company with his German
fellow-worker, to associate himself with his own
younger brother, Bartolommeo, who took the
name of Vivarini {q.v.). An altar-piece, the Virgin
and Child with Saints, in the Bologna Gallery,
dated 1450, is inscribed with the names of the two
brothers. Antonio, if we may believe Sansovino,
lived until 1470. His latest extant work is an altar-
piece in the gallery of the Lateran. It is signed
with his name alone, and dated 1464. Besides the
works already mentioned we may note : W. A.
Brescia. Seminario. S. Ursula between SS. Peter
and Paul.
Padua. S.Filippo. AM&donna, (yen/ fine fragment).
VIVARINI, Baktolommeo, who up to 1459
signed himself Bartolommeo da Mueano, but after-
wards adopted the name which is now so well
known, was the brother of Antonio da Murano.
In 1450 he, with Antonio, executed the Madonna
and Child, for the Carthusians of Bologna, which is
generally considered one of the best productions
of that time in Northern Italy, and is now in the
Communal Gallery of Bologna. A ' Glorification
of St. Peter,' signed and dated by the two brothers
in 1451, is in the Communal Gallery of Padua ;
and other examples are to be seen in the churches
of Pausola and Bergamo, and in S. M. d. Salute at
Venice. The S. Giovanni Capistrano in the Louvre
is dated 1459, in which year Bartolommeo first
commenced to sign himself 'Vivarini.' In 1464
he withdrew from his partnership with his brother,
and began to show the influence of Paduan masters
on his style. Bartolommeo's method was much
affected by the arrival of Antonello da Messina in
Venice, about 1470, and by the experiments in the
use of oil or varnish induced by his example. Crowe
and Cavalcaselle say that Bartolommeo was the first
Venetian to try the new system. In 1489 Vivarini
painted a ' Death of the Virgin,' for the Certosa of
Padna, which formerly bore, according to Moschini,
the following inscription : " Hoc opus factum fuit
Venetiis per Bartholomeum Vivarinum de Muriano
1499." This was afterwards so mutilated and doc-
tored as apparently to declare the authorship of
Giotto, under whose name it existed for a long
time in Lord Northwick's collection. The date
of Vivarini's death is uncertain, but it occurred
after 1499. Works : W. A.
'Bevgaxao. Lochis Carrara ) -^. . j ^ • j. i^oo
Gallery. | Virgin and Saints. 1488.
„ „ A Madonna. 1486.
Berlin. Museuvi. St. George and the Dragon.
„ „ St. Ambrose with four other
Saints. 1477.
London. JVat. Gall. Madonna and Child between
SS. Paul and Jerome.
Naples. Museum. Virgin and four Saints. 1465.
Paris. Louvre. S. Giovanni Capistrano (signed
OWs. Baetholomei. Viv-
EINI. TIE. MVEANO). 1459.
Venice. S. Maria For- \ Scenes from the Life of the
ntosa. J Virgin. 1473.
„ SS. Giov. e Paolo. St. Augustine.
„ „ SS. Dominick and Laurence.
1473.
„ Frari. St. Mark with four other Saints.
1474.
,, Academy. Virgin and four Saints. 1464.
Vienna. Belvedere. St. George and the Dragon.
1485.
VIVARINI, Giovanni. The theory that a
Muranese painter of this name existed at all is
now generally abandoned. It was first promulgated
by some Italian critics, notably Zanetti and Mos-
chini, who, zealous for the glory of the Venetian
school, sought to establish that the Giovanni da
Murano of the later signatures on the joint works
of Antonio da Murano and Johannes Alemannus
(q. v.), was a native artist, and not identical with
the German Giovanni. Taking advantage of this
hypothesis, certain Venetian dealers dismembered
an altar-piece purchased from the church of San
Stefano, at Venice (probably an ' Apotheosis of S.
Jerome,' executed for that church by the partners
in 1441), and, forging signatures on the separate
panels, invented, amongst others, the name of
Giovanni Vivarini. The fragments thus decorated
were foisted upon Signer Ascanio Molin, a wealthy
collector, but the fraud was speedily detected, and
denounced by Pietro Brandolese, Lazzaro, Lanzi,
and others.
VIVARINI, LuiGi, (Alvisb, Aloise,) the date
of whose birth is unknown, was a kinsman of
Bartolommeo Vivarini, under whom he certainly
studied. His earliest recorded works were painted
about 1464, when he and Carpaocio competed with
677
Viveroni
A BIOGRAPHICAL DICTIONARY OP
Vleriok
Giov. Bellini in the decorations for the scuola of
S. Girolamo, at Venice. These pictures of Alvise's
have, however, disappeared. The ' Adoration of
Christ,' dated 1476, in the sacristy of the church
of Montefiorentino, is one of his early productions,
and shows that he had then already commenced
the use of oil. In 1480 he painted a splendid
'Virgin and Saints,' for San Francesco, Treviso,
now in the Vernce Academy. To about this date
belong the SS. Matthew and John the Baptist, in
the same collection ; and the fresco of ' Christ
carrying His Cross,' in SS. Giovanni e Paolo. In
1488, Alvise Vivarini wrote a letter to the Signory
of Venice, requesting permission to share with the
Bellini in the commission to decorate the Hall of
Great Council. To this he received a favourable
reply, and thereupon executed two paintings, which
were burned in the fire of 1577. The subjects,
Vasari tells us, were ' Otho promising to mediate
between Venice and Barbarossa,' and ' Barbarossa
receiving his Son.' The Council were so pleased
with the pictures that, in 1492, Alvise was named
Depentor in Gran Gonseio, with a salary of five
ducats a month. Notwithstanding this work for
the State, he continued to paint altar-pieces for
private patrons. The ' Apotheosis of St. Ambrose,'
in the Cappella Milanesi of the Frari, Venice,
was probably the last production of Alvise, as the
inscription tells us that it was completed after his
death by Marco Basaiti. The date upon it is 1503.
After the Bellini, Luigi Vivarini was the greatest
of the Venetian quattrocentisti. Works :
Berlin. Museum, Virgin enthroned. (From S.
CristoforOj 3furano.)
„ „ Virgin enthroned. (Perhaps
from S. Maria dei Battuti,
Belluno.)
Ferrara. CostaUl. Gal. Coronation of the Virgin.
Milan. Brera. Christ in benediction. (/jiscriieiZ
' Alvisius Vivarinus de Muri-
ano pin. mcccclxxxxviii.'
„ Cam Bonomi. Male portrait ; signed and dated
1497.
Naples. Museum, Virgin and Saints.
Venice. Academy. Virgin enthroned, with Saints.
(From S. Francesco^ Treviso.
Signed 'Alvixe Vivariu p.
MCCOCLXXX.')
„ „ St. John the Baptist.
,j „ St. Matthew. (From the style
of these Jigures Moschini argues
mistakenly that tliere were two
Luigi rivarinis.)
„ „ S. Chiara. (Ascribed to Barto-
lommeo.)
„ Fran. Apotheosis of St. Ambrose.
(Inscribed ' Quod Vivarine,
tua fatale sorte nequisti,
Marcus Basitus nobile promp-
sit opus.')
„ Eedentore. The Virgin adoring. (Ascribed
to Giov. Bellini^
„ ^. Gioii. 2?i ) The Virgin adoring. (Ascribed
Bragora. ] to Giov. Bellini.)
„ „ Christ in Benediction. 1493.
„ „ The Resurrection.
„ C'orrer Museum. St. Anthony of Padua.
Vienna. Gallery. Virgin adoring. (Signed 'Al-
visius Vivarinus de Muriano
p. MCCOCLXXxviTT.' This pic-
ture aifd those in the Eedentore
and S. Giov. in Bragora are
almost identical in conception.)
VIVERONI, F., is mentioned by Strutt as the
engraver of some views in Ireland of little merit.
VIVIANI, Antonio, called Codagora, was
brought up in the Academy at Rome, and flourished
678
about tlie year 1650. He excelled in painting
architeetuial ruins, and perspectives of his own
composition. He has been confounded with Ottavio
Viviani of Brescia, w]jo painted similar subjects,
but in a very inferior style. Domenioo Gai'giuoJi
of Naples, Cerquozzi, and Miel put iii his figures.
VIVIANI, Antonio, called 1l Soedo d'Drbino,
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 artistsintheFlorentine
Gallery. He died in the Electoral Palace at Bonn
in 1735. His portraits of F^n^lon and of himself
are in the Munich Gallery.
ViyiER, G. (GuiLLATTME ?) Du Or DE, probably
a native of Liege, 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. Dumesnil gives the follow-
ing eight plates by him, to which Nagler adds a
' Fagade of S. Germain en Laye.'
Christ in the Sepulchre ; after Ant. van den Heiivel.
The Four Evangelists, in one piece.
Temptation of St. Anthony ; after Ant. van den Heuvel
Thetis, Chiron, and the infant Achilles.
A Flemish Kitchen ; after Ant. van den Seuvel.
The Flageolet Player.
The Tippler ; in the manner of Eembrandt.
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, Iqnaz du. See Du Viviee.
VIVIER, Jean BEENAEto du. See Duviviee.
VL. See Val, Sebastiano De.
VLAMINCK. See De Vlamynck.
VLERICK, PiETEE, was born at Courtray in
1639. He was the son of a lawyer, who, perceiving
his inclination for art, placed him under Willem
Snellaert, 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
Vleugbels
PAINTERS AND ENGRAVERS.
Vogel
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 Girolamo Muziano, supplying figures to the
landscapes of that painter. He also drew land-
scapes and ruins with the pen. In 1568 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.
VLEUG-HELS, 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
.^neas,' by him, and the Valenciennes Museum
two companion pictures, ' Le Lever,' and ' La
Toilette.'
VLEUGHELS, 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.
VLEYSj 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 Vliegbr.
VLIEGHER, Serafy. See Db Vlieghee.
VLIET. See Van deb Vliet.
VOEIRIOT. See Woeiriot.
VOENIUS. See Veen.
VOERST, Corn, van der, (Voort). See Van
DER VoORT.
VOERST, RoEERT VAN, draughtsman and en-
graver, was born 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 I>yck.
Sir Kenelm Digby ; after the same.
Inigo Jones ; after the same.
Christian, Duke of Brunswick ; after the same.
Sir George Oarew ; aftei' the same.
Philip, Earl of Pembroke ; after the same,
Ernst, Count Mansf eld ; after the same.
Simon Vouet, Painter ; after the same.
His own Portrait; after the same.
Prince Eupert.
James Stewart, Duke of Lennox ; after Geo. Gddorp.
Robert, Earl of Lindsay ; after Mierevelt.
Edward, Lord Lyttleton.
James, Marquis of Hamilton.
Henry Rich, Earl of Holland.
"William Fielding, Earl of Denbigh.
Elizabeth, Queen of Bohemia ; «/<«■ (?. Van Sonthorst,
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 handling 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 Holof ernes ; aftej- Rulens.
The Holy Family returning from Egypt ; after the same.
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 Roman Daughter ; after the same.
The Entombmeut of Christ ; after Van Dyck.
Christ bearing the Cross ; after the same.
Folly, holding a Oat ; after Jordaens.
The Card-players ; after De Vos.
Landscape ; after Foitijuieres.
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, Kabel Borohart, was born at ZwoUe
in 1670, and was first taught by his elder brother,
the Burgomaster of ZwoUe (who, though not a
professional artist, had learned drawing for the
purpose of his studies in botany and natural his-
tory), and under him 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 employed 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,' with 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,
perhaps, his best plates :
Christoph Weigel, Engraver ; after Kupeczky. 1735.
Johann Kupeczky, Painter. 1737.
His son, Johann Christoph, also practised mezzo-
tint engraving, and produced some plates after
Kupeczky.
VOGEL, Christian Lebeecht, was born at
Dresden in 1759, and having in his twelfth year
painted his own portrait in pastel, ho was placed
under Johann Eleazar Schenau. He was patron-
ized by Count Solins, by whose direction he, in
1780, proceeded to Wildenfels, where he painted
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
679
Vogel
A BIOaEAPHICAL DICTIONARY OF
Voligny
altar-pieces, on tlie subject of ' Suffer little cliildren
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, Karl Fribdeich Otto, wood engraver,
was bom 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 books, he v/orked under Baum-
gartner, at Leipsio, in 1834-5, but returned with
his brother to Berlin, where he died in 1851, while
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,'
1844-51, 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 lie worked under Overbeds, and formed
a friendship with Cornelius. His reputation was
won by his pictures of the Swiss war of independ-
ence. He died at Zurich in 1879. Amongst liis
best known works are :
Return of the Swiss from the Battle of Morgarten,
■Winkelreid's Fight with the Dragon.
Putting the Stone on the Eigi.
Tell before Gessler.
The Fight of Adam Naf at Kappal.
VOGEL VON VOGELSTEIN, Karl Christian,
historical painter, was born 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, a.nd 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 VIL, the
Kings of Saxony and Holland, and the sculptor
Thorwaldsen.
VOGELAEB, Carel van, (or De Vogel,) called
also Carlo di Fiore and Distelbloem, was born 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 Maratti, who occasionally
employed him to paint accessories in his pictures.
He died at Rome in 1695. In the Dresden Gallery
there is a picture ascribed to Maratti, in which he
is said to have painted the fruit.
VOGELSANCK, Isaac, a Dutch landscape,
cattle, and decorative painter, was born at Amster-
dam in 1688. He was a pupil of Huchtenburgh.
Migrating to England about 1715, he practised in
London, in Ireland, and in Scotland. He was much
employed on accessories for portrait painters. He
died in London in 1753.
VOGHTER, Heinbich, a German engraver on
wood, was born at Strasburg, about 1490. He
imitated the style of Albreoht Durer with some
680
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,
Hbinrioh Voghtee the younger, was also a wood
engraver. He was born in 1513, and was at work
in 1545.
V06T, 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 Sfcorm.
Niagara in Summer. | Niagara in Winter.
The returning Harvest Waggon. | The Smithy.
VOIRIOT, Gdillaume, 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 S. Luke from
1759 to 1791.
VOIS, Adb. db. See Db 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 Woollett'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 Voljere,) Jacques, painter, was
born, probably either at Toulon or Nantes, about
1736. 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 acquainted with Joseph Vemet
when the latter visited Toulon, and attached him-
self to the master as con)panion 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. Voluire died at Naples early
in the 19th century. The following are among his
best known works :
Two Sea-pieces. {Palace of Gompiegm.)
Eruption of Vesuvius. {Havre Museum.)
Eruption of Vesuvius, with view of Portici. {Nantes
Museum.)
Eruption of Vesuvius by night. {Toulouse Museum.)
VOLCKER. See Volkf.r.
VOLDERS, Louis, painter, and a native of
Brussels, flourished about the middle of the 17(h
century. No details of his life are known, though
several of his works have survived. He is believed
to have been a pupil of Crayer, 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.
VOL^EE. See Volaike.
VOLIGNY, — , 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 VOLIGNY DE Tonneres, engraver, who died in
1699.
Volk
PAINTERS AND ENGRAVERS.
Volpato
VOLK, JoHANN Georg Babtholomaus, 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 V6lk, 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, Pbiedrich Wilhelm, 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 Volokek,)
flower painter, was born at Berlm in 1775. He
was a pupil of Johann Feiedbich 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, (or Volckeb,) 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 Munich Academy.
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 Aschafienburg. In
1851 he published an ' Art of Painting ' (Leipsio),
and in 1853 became teacher in the cantonal school
of St. Gall, where he died in 1874.
VOLKHART, Georg 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, Queen 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 century. It appears that he was a member
of the Guild at Utrecht in 1611, and Dean in
1627, and that in 1612 Beemt de Visscher was his
pupil. No further 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, Ae'etqen de. See Claessen.
VOLLERDT, Jan Christian, or Chbistoph, (or
VoLLAEET,) was born at Leipsic in or about 1709,
and was a scholar of Alexander Thiele. He is
credited with the execution of maiiy small land-
scapes, views on the Rhine and in Switzerland,
somewhat in the manner of Chr. Geo. Schiitz, 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. There is a Rhine landscape
by him in the Bordeaux Museum.
VOLLERT. See Vollerdt.
VOLLEVENS, Johannes, was born at Geertrui-
denberg in 1649. He was a scholar first of Nicolas
Maas, and afterwards of Jan de Baan, with whom
he remained eight years. Prom 1672 onwards he
worked independently, and after the death of De
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 born 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 the Hague in 1758.
VOLLMER, Adolph Feiedeich, painter and
etcher, was born at Hamburg in 1806. He travelled
through Germany with the cosmorama painter
Suhr, studying subsequently under Rosenberg at
Altona, and under Eckersberg at Copenhagen.
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.
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 to 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
Fliie from his Family,' which was engraved by
Lips. His brother, Xaver Volmae, etched some
of his works. Xaver's son, Joseph Volmar, (born
1795, died 1865 at Berne,) was a sculptor as well
as a landscape and animal painter, with particular
skill in painting horses.
VOLPATI, Giovanni Battista, born at Bassano
in 1633, was an indifferent painter, and the author
of some treatises on the fine arts. The most import-
ant of these is ' La Verita Pittoresca.' He died in
1706.
VOLPATO, Giovanni, draughtsman and en-
graver, was born at Bassano in 1733. He received
his first training from his mother, an embroiderer,
and then studied under the engraver Remondini.
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,
681
Volpe
A BIOGRAPHICAL DICTIONARY OF
Voogd
and others. He worked some time for the Duke of
Parma, until a plate from the Monument of Algarotti
at Pisa brought him into wider notice. He afterwards
visited Rome, where Gavin Hamilton employed
him to engrave several plates for his ' Sohola Italica
Pioturas' ; 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
able men in Italy in his time. Among his best
plates are the following :
PLATES ENGRAVED FOE GAVIN HAMILTON.
The four Sibyls ; after Saphael.
The Marriage of Alexander and Eoxana ; after the same.
Modesty and Vanity ; after Leonardo da Vinci (?).
Perseus and Andromeda ; after Polidoro da Caravagnio.
Christ praying on the Mount ; after Correggio.
The Feast in the house of Simon ; after Paolo Veronese.
The Marriage of Oana ; after Tintoretto. '
The Gamesters ; after Michelangelo da Caravagyio.
SUBJECTS AFTBE GAVIN HAMILTON.
The Death of Lucretia. Innocence.
Juno. Hebe.
Melancholy. Gaiety.
COLOUBBD PRINTS AFTER RAPHAEL.
The School of Athens.
The Dispute of the Sacrament.
Heliodorus 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 Bolsena. 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.'
VOLPELlilRE, Mile. L. P. Julie, 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 Battirta di Pibteo di
STEfANO, a painter of Pistoja, who flourished at
the beginning of the 16th century, and painted in
conjunction with II SoUazzino, and with Bernardino
del Signoraccio for various churches of his native
city.
VOLTERRA, Daniels da. See Riociaeelli.
VOLTERKA, 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
682
Maesteo Giotto, a painter of Florence, whose
name occurs in the records of the city Guild for
1341.
VOLTERRA, Giov. Paolo Rossetti da. See
"RoRSETTI
VOLTERRANO, II. See Feanceschini, B.
VOLTZ, JoHANN Michael, painter and engraver,
was born at Nordlingen in 1784. In 1801 he was
apprenticed to F. Weber of Augsburg, and four
years later entered the academy of H. von Herz-
berg, with whom he studied etcliing 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. Nat. Gallei-y.
» "
Breslau.
A Menagerie.
Cows drinking.
A Tillage ; morning.
Watering the Cattle.
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. 1808)
with animals beautifully painted by Vonck. It is
signed with Ruysdael's monogram, and with /.
Vonck fe. There seems to have been a third VoNCK,
who resided atMiddelburg about 1750 ; he painted
birds and still-life subjects in the manner of Aart
Schouman.
VON DBR EMBDE, August, was bom 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, Kaeoline and
Emilie, were also painters.
VON DER SCHLICHTEN. See Van dee
SCHLICHTEN.
VONHOLST. SeeHoLST.
VONWYL, Jakob, (or Von Wyl,) was born at
Lucerne in 1595. 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.
VOOGD, Hendeik, a landscape painter, was born
at Amsterdam about 1764-7, and studied first at the
school of design there, and afterwards under
Juriaan Andriessen. He was furnished by a friend
with the means to visit Italy, whence he sent to
the Society 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-
Voordecker
PAINTERS AND ENGRAVEBS.
Vorstermans
Bcape etchings, and made several drawings after
Claude for the use of the engraver Volpato.
VOORDECKER, Henri, painter, bom 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.
VOORHOUT, Johannes, was born at Uithoorn,
near Amsterdam, in 1647. He was the son of a
watchmaker, who placed him under Constantine
Veebodt 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 Sophonisba. ' 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 VooEHoni, who died in 1749, and left
a picture of 'The Good Samaritan,' now in the
Brunswick Museum.
VOORT, (VoOKSE, or Vooes). See Van dbr
VOOET.
VOORT, M. Van dbr. See Van dee Vooet.
VORMACIA. See Wobnsam.
VORSTBRMAN, Lucas, the elder, (or Vostee-
MAN,) engraver, was born at Antwerp in 1578,
and at first 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 so 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
'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 1623 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 Olara Eugenia, Infanta of Spain. Do.
Gaston, Duke of Orleans. Do.
Ambrosio Spinola, Governor of the Low Countries. Do,
Wolfgang Wilhelm, Duke of Bavaria. Do.
Anthony van Dyck, Paiuter. Do.
Peter de Jode, the ekler, 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 Uden, Painter. Do.
Cornelis Saftleven, Painter. Do.
Orazio Gentileschi, Painter. Do.
Jan Lievens, 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 Rulens.
The Fall of the Rebel Angels ; after liubens.
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 Holy 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.
Mary Magdalene renouncing the Vanities of the World.
The Battle of the Amazons ; a large print on six sheets.
The Holy Family ; after Saphael. .
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 Caravaggio.
A Pieta ; 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. Jordaens.
A Concert of five persons, one of whom is a Girl playing
on the Guitar ; after Adam de Coster, being a Com-
panion to the Concert engraved by Bolswert, after
Theodoor Bomhouts,
VORSTERMAN, Lucas, the younger, was the
son of the elder artist of the name, and was bom
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 ; aftei- F. Snyders.
Lucas Vorsterman the elder ; after Van Dyck.
Sir Hugh Cartwright ; after Diepenbeeck,
The Trinity; after Bubens.
Part of the AViitehall ceiling ; after the same.
The Virgin in the Clouds, surrounded by Angels ; after
Van Dyck.
The Triumph of Eiches ; after Holbein.
The greater part of the Plates for the Duke of New-
castle's book on Horsemanship ; after desipis by
Diepenbeeck.
Several Plates in the Teniers Gallery.
VORSTERMANS, Johannes, (or Vcstekman,)
was born at Bommel 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 Frencli
army, he moved from Utrecht to Nimeguen, where
his talents became known to the Marquis of Bethnne,
683
VSrtel
A BIOaRAPHICAL DICTIONARY OF
Vouet
for whom lie 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 Soanies 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 bom 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 Boisser6e to repro-
duce npon glass various works after the early
Gi'rman 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.
VOSCHER,- Leopold Heinkich, landscape
painter, was born at Vieima 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 coimtry.
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,
Jakou.
VOSTERMAN. See Vorsteeman and Vorster-
mans.
VOSTRB, 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
of prints in the manilre crible'e (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 jdans 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 maitrise, was received by the
684
Academy in 1664, and was employed on decor-
ative work in the Tuileries, in conjunction with
Mosnier, Oorneille the younger, and Bonnemor.
No further details concerning him 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,
practising 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 Venibe, 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 Guide. He rapidlj- acquired a reputation, so
that in 1 620 he was summoned to Genoa on a com-
mission to decorate tlie 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 Vellatrano, 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 ChMeau 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
remarried, 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
the French school he exercised a despotic influence
in his time, similar to that subsequently wielded
by Le Brun and David. Most of the ar(ists of the
succeeding generation passed through 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:
Avigaon. Museum.
Mater Dolorosa.
Dresden. Gallert/.
St. Louis.
Florence. UJlzi.
Tbe ADuunciation.
)) 1)
P. rtrait of himself.
Hampton Court.
Diana.
Lyons. Museum.
The Crucifixion.
Marseilles. „
The Vir^u and Child.
Montpellier. „
Prudence.
Munich. Pinakothek.
Virgin and Child.
Paris. Louvre.
The Presentation. 1641
») »
The Holy Family.
Vouillemont
Paris.
PAINTERS AND ENGRAVERS.
Vuez
Louvre. The Crucifixion.
„ „ The Entombment.
J, „ iloman charity.
I) „ Portrait of Louis XIII.
„ „ Allegory of Eiches.
„ „ Faith.
Petersburg. Sermitaye. Virgin and Child (two pictures) .
„ „ Venus and Adonis.
„ „ Death of Lucretia.
Rome. Pal. Consenatori. Three allegorical figures.
Itouen. Museum. Apotheosis of Sb. Louis. '
J, » Ananias and Sapphira.
Tours. „ Portrait of himself.
Valenciennes. „ St. Stephen.
VOUILLEMONT, Sebastien, a French engrayer,
was born at Bar-sur-Aube, about 1610. He was
a pupil of Daniel Rabel, and afterwards went to
Eome, 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 the Innocents ; after Raphael. Ifi41.
Christ with the Disciples at Emmaus ; after the same.
Mount Parnassus ; after the same.
The Holy Family ; after the same.
The Virgin and Infant Christ ; after Parmigiano.
The Marriage of St. Catherine ; after Albani.
A young Man presenting Money to a Fortune-teller.
VOULLEMIER, Mlle. Anne Nicole, a Erencli
artist, born at Chatillon-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 Db Vodw.
VOYEZ, Nicholas Joseph, was born at 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 Rdpublicaines.' 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.
The Sister of Charity ; after Eisen.
Funeral of St. Gregory ; after Van Loo.
Angelica and Medoro ; after Blanchard.
The Astrologer ; after G. Dou.
An old Man in meditation ; after the same.
His brother Franqois Voyez, also an engraver,
was born in 1746. He, too, was a pupil of Beau-
varlet, and engraved after Greuze, Touzd, Bon de
BouUongne, and others. Several plates signed
Voyez only are ascribed to Nicholas.
VOYS, (Vois). See Db Vois.
VRAC, Lb. See TodeniJiees, Robert.
VRANCX, (or Veanck). See Feancken, Seb.
VEEE, (or Vebem). See De Veee.
VRBLANDT (Vkedelandt, Wyelandt,)
WiLLBM, a miniaturist of the 16th century, who
was cotemporary with Memling, at Bruges. In
1477 he took a prominent part in commissioning
Memling to paint an altar-piece for the chapel of
the Booksellers' Guild, in which body Vrelandt
held a position of trust. An inventory of 1499
describes this work as ' an altar-table with four
wings, by Master Hans, including the portraits of
Willem Vreland and his wife.' Messrs. Crowe and
Cavalcaselle (' Early Flemish Painters ') suggest
that the altar-piece in the Turin Gallery, 'The
Seven Griefs of Mary,' may be identical with this.
Vrelandt is further known as the illuminator of the
MS. 'Histores de Haynnaut ' (Brussels, ' Biblio-
theque de Bourgogne,' 2 vols.). He died in 1481.
VRIENT. See Db Vrient.
VRIES. See De Vbies.
VROMANS, NiooLAAs, was born 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 Coenelisz, 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-
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 he 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, he
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
Nottingham 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
Houtmau 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 Feedbrik, who
died in 1667, an historical painter and architect.
VROOMANS. See Veomans.
VTENBROEGK. See UuTENBEoncK.
VUECHTLIN. See Wbchtlin.
VUEZ, Aenould db, (Wdez, d'Hhez, Duez,) an
historical painter, was born 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 ofiScer in a
duel, he fled to Constantinople, but under the pro-
tection of Louvois he ventured back to Lille, to paint
685
Vuibert
A BIOGRAPHICAL DICTIONARY OP
Vyth
in the Hospital chapel. He died at Lille in 1719
or 1720. His works used to be numerous in the re-
ligious establishments at Lille, Cambrai, and Douay.
A great many have now been gathered into the
Lille Museum. They are rich in composition,
full of architecture, but bad in colour.
VUIBERT, Rbmi, (or Wibeet,) a French painter
and engraver, was born (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 pi 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 the 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 try Duquesnoy. 1629.
VDLPE, Fra Gabriele 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, Rocli, and Sebastian, and
a donor,' which is now in the vestibule to the
sacristy of San Domenico, Palermo ; it is dated
1535.
VDORMACE. See Woensam.
VYL, (Vijl). See Den Uyl.
VYOLL. See Fyoll.
VYTENBROECK. See Uijtenbeotok.
VYTH, JoHANN Maktin, (or Vbyth). See
Veith.
686
Waagen
PAINTEBS AND ENGRAVERS.
Wageman
w.
WAA6EN, Feiedrich Lttdwig Heineioh, was
born at Gottingen in the middle of the 18th century,
was 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
drawing and painting. His works consisted of
portraits, historical subjects, and landscapes, in
' the style of Poussin.
WAAGBN, Kael, 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 painted 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 Waaed.
WAAS, Aaet van, (or Waes,) was a native of
Gouda, and scholar of Wouter Crabeth. After
a tour in Italy, he returned to Gouda, where he
painted genre pictures, and died in 1646, accord-
ing to Balkema ; in 1660, 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
ich door de honst, &c. 1645."
WABBE, Jakob, painter, flourished at Hoorn
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.
WACH, Kael Wilhelm, a German historical
and portrait painter, bom at Berlin in 1787. He
was a pupil of Kretschmar, 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 speut some time in Paris, studying
under David and Gros, and in 1817 went to Italy,
where he joined the neo-German group. On
settling in Berlin in 1819, Wach 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 Cupid.
„ Gamson Church. The Crucifixion.
„ Schloss. S. John in Patmos.
„ Werder'sche Kirche. Faith, Hope, and Charity.
„ Raca/nski Coll. Christ and His Disciples.
„ „ The Madonna.
,j „ Portrait of Cornelius.
„ „ Countess Eaczynski.
Moscow. Ch. ofSS Peter \ rj^^ Altar-pieces.
and Paul. )
WACHSMUTH, Fbedinand, painter and etcher,
was born at Muhlhausen 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 Wouwerman ' A Halt of Huntsmen.'
The Museums of Amiens, Avignon, and Ver-
sailles possess examples of his work, in history,
genre, and portraiture.
WACHSMUTH, Hieeonymus, 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, Eberhaed Geoeg Feibdeioh von,
painter, was born at Balingen in Wiirtemburg,
Feb. 29th, 1762. He was educated at the ' Karls-
Sohule,' at Stuttgart, where he studied jurispru-
dence, with the intention 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, 1862, at
Stuttgart. Pictures :
Stuttgart. Gallery, Job and his Friends.
„ „ The Choice of Hercules.
„ „ The Ship of Life.
WACHTLIN. See Wechtlin.
WADDINGTON, S , an English landscape
painter, was born in 1736 (?). He painted some
good landscapes in the style of Claude, but died at
the age of twenty-two, in 1758.
WAEGEMAN, 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 De Wael.
WAELSCH, Jas. See Baebaej.
WAERD (Waaed). See De Waaed.
WAES. See Waas.
WAESBERGE, Izaak, was a Dutch engraver,
who flourished from about 1660 till 1660. We
have by him several portraits, engraved in a style
resembling that of Cornells Vissoher ; among them
that of Admiral de Ruyter, after H. Berckmans.
WAGEMAN, Thomas Chaelbs, an English por-
trait painter, was born in 1787. He had a large
practice in theatrical portraits, and exhibited at
the Academy and in Sufiblk Street, from 1816 to
1857. He died in 1863. There are by him :
London. Kensington Mus. Portrait of T. Stothard.
„ '„ ' Fawcett as Autolycus. 1828.
687
Wagenbauer
A BIOGRAPHICAL DICTIONARY OF
Wagner
WAGENBAUER, Maximilian Joseph, land-
scape and animal painter, was born at Grating,
near Munich, in 1774. He was a pnpil 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 :
Berlin. Nat. Gall. Mountaia Tarn in Bavaria.
„ „ Cattle at Pasture.
Munich. iV. Finakothek. 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 dogs and game. He
lost his life near Munich in 1859, through the
accidental discharge of his gun.
WAGNER, Friedrich, engraver, was born 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 Dtirer Society to engrave Guido Rent'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 ' Kunstgesohichte.' In 1852 he settled
at Stuttgart, but afterwards moved to Munich,
where he died in April, 1876. His plates are very
numerous ; the following are perhaps the best :
Leonardo da Vinci's Last Supper ; a copy after Morghen.
Noah ; after Oppenhehn.
Hieronymus Holzsohuher ; after Dtirer.
Sakuntala ; after Biedel.
S. Sebastian ; after Carlo Dolce.
The Cherry-Seller ; after Kreul.
The Banquet in honour of the Peace of 'Westphalia;
after Sandrart,
The Descent from the Cross ; after Rubens.
Ecce Homo ; after Durer.
Diirer's Portrait of himself.
The Madonna della Tenda ; after Raphael.
WAGNER, Hans. See Subss.
WAGNER, Hans Erhaed, was, according to
Professor Christ, a native of Strasburg, and en-
graved a considerable number of copper-plates,
which were printed by Johann Heyden. lie 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.
688
WAGNER, Johann Geoeg, son of an indifferent
painter, Johann Jakob Wagner, was born nt
Meissen in 1732, and was a scholar of Dietrich,
who was his uncle. He painted landscapes with
pastoral subjects, nymphs bathing, 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 '.^neas inquiring of Venus the road
to Carthage.' In 1803 he went to Paris, and in
1804 to Rome. During a long stay in 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 .fllginetan 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 Jaoopo
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, Flipart, and Berardi.
The following are perhaps his best prints :
Peter the Great, Emperor of Russia, conducted by
Minerva ; after Amigoni.
Anne, Empress of Russia. Do.
Elizabeth Petrowna, 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 Paolo Veronese.
The Meeting of Jacob and Rachel ; after Luca Gioriami.
Rebekah and Bliezer ; after the same.
The Death of Abel ; after Benedetto Luti.
The Magdalen in the House of Simon ; after the same.
The Virgin and Infant Christ ; aftei' Solimena.
The Assumption of the Virgin ; after Piazzetta.
S. John in the Desert ; after C. van Loo.
Twelve Landscapes and Pastoral subjects ; after Zue-
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 1826
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, LUDWIG 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
Wagner
PAINTERS AND ENGRAVERS.
Waldo
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 Qeorg Wagner,
was horn 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 born 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-DBINES, Johann, 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.
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-
man, his most important achievement being a series
of drawings from Swedish history. His ' Death of
Gustavus Adolphus ' is now in the Castle at Stock-
holm. He died in London in 1858.
WAINWRI6HT, Thomas Griffith, an English
subject painter, was born towards the close of the
18th century. He exhibited at the Royal Academy
from 1821 to 1825, and wrote some art criticisms
for the ' London Magazine ' under the name of
Janus Weathercock. His misdeeds procured him
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 his claim. He was afterwards
transported for forgery, and died at Hobart Town
in 1852.
WAIT, Robert, a Scotch portrait painter, born
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 Kenou 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 Barbibr-Walbonne.
WALBURG, , is mentioned by Strutt as the
engi-aver of a portrait of John Frederick Gronovius,
from a design of his own.
VOL. II. Y T
WALCH, Georg, a German engraver, who flour-
ished in the second half of the 17th century (1650-
78). He appears to have been chiefly employed in
engraving portraits in line, but he also worked in
mezzotint.
WALCH, Jacob. See Barbarj, 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
Walch, 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. Fussli.
WALDECK, Johann Friedrioh Maximilian,
was born at Vienna in 1766, and studied in
Paris under Vien, David, and Pmd'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
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.
WALDMtJLLER, Ferdinand Georg, painter,
was born 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 Convent 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-
liminary 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
death 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 Remsen.
" 689
"Waldor
A BIOGRAPHICAL DICTIONARY OF
Walker
WALDOB. See Valdoe.
WALDORF, Antoinb, was born at Huis-ten-
Bosoh, near the Hague, in 1803, and worked as
a scene-painter under Brickenhgimer. 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. B. Museum. Still Water with Shipping.
Eotterdam. Museum. The Escape of Grotius
from Loevestein.
WALDEE, Vincent, an Italian decorative
painter, was born 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, Samuel, was born 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
'London and its Environs.' At the establishment
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 born 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, E.A. He made
twenty-four drawings from the Caves of Ellora,
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 possession 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' wereby 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 Samnites ;
after Pietro da Cortona.
The Village Lawyer and his Clients ; after Holbein.
The Angel departing from the House of Tobit ; after
Bemhrandt (exhibited at Spring Gardens, 1765).
View of the City of Woroester ; after J. B. C. Chatelain.
View of Lord Harrington's Park ; aftar the same.
He died in London in 1765.
WALKER, Elizabeth, an English miniature
painter, was bom 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. Lupton, 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 1850. After a long career,
she died in London in 1876. There is by her :
Oxford. Christ Church. Portrait of the Earl of Devon.
WALKER, Feedeeick, was bom 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 ' Comhill 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
Walker
PAINTERS AND ENGRAVERS.
Walker
nature 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 they were idealized
portraits of actual places. Among his best works
in each medium we may name :
WATEK-COLOUBS.
Philip in Church.
The Fishmonger's Shop.
Marlow Ferry.
Our Village.
The New Boy.
■Well-sinkers.
The Fairy.
High Street, Oookhara.
Portrait of himself.
Mushrooms. •
The Chaplain's Daughter.
■Water-colour replicas of nearly all the oil pictures
mentioned below.
OIL PICTURES.
The Lost Path. {S. F. Mdkins, Esq.)
■Vagrants. 1868. {National Gallery.)
The Old Gate. 1869. {A. B. Street, Esq)
The Plough. 1871. {The Count of JBayona.)
At the Bar. 1872. Before his death he erased the
head in this picture.
The Harbour of Refuge. 1872. ( William Agne^o, Esq.)
■Wayfarers. ( William Agnew, Esq.)
The rBathers. ( W. Cuthbert Quilter, Esq.)
The Peaceful Thames ; left unfinished. {Sir Charles
Tennant, JBart.)
The Eight of ■Way. 1875.
WALKER, GrEOHGE, an English painter, was
born in the first half of the 18th century. Many
of his works were engraved by W. Byrne. He
exhibited landscapes at the Royal Academy from
1792 to 1795, 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 the 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 "Romney. 1780.
Countess of Carlisle. So. 1781.
Miss "Woodley. Do. 1781.
Master Tempest. Do. 1781.
Lady Isabella Hamilton. Do. 1782.
Sir Hyde Parker. Do.
The Fair Persian ; afte/r M. Cosway. 1784.
Dr. Eobertson ; after Reynolds.
The Infant Hercules ; after the same.
■Woman teaching Child to read ; after Bemirandt. 1793.
Ariosto ; after Titian. 1819.
WALKER,- John, engraver, was the son of
Wilham 'Walker (of Thirsk). He practised in
London towards the close of the 18th century,
finishing many of his father's plates after the
latter's death. He also engraved some views
which were published in the ' New Copper-plate
Magazine ' in 1794-6.
WALKER, J. Rawson, 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
Y Y 2
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 tlie time of Cromwell, whose portrait and
those of other republican chiefs he painted. He
painted the Protector more than once. One portrait
represents him with a gold chain about his neck,
wliich had been sent to Cromwell by Christina of
Sweden, in return for his miniature by Cooper.
Another was purchased for the Grand Duke 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
pounds, and paid it. Walker had for some time an
apartment in Arandel House, in the Strand. It is
stated on an engraved portrait of him by Peter
Lambart that he died there in 1668. 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. ]V. Fort. Gal. Oliver 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 tlie
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, where he engraved
some fine plates in stipple after Sir Henry Raeburn.
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 Thirsk in 1729, and after serving an
apprenticeship to a dyer, 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
691
Wall
A BIOGRAPHICAL DICTIONARY OF
Walter
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 Fietro da
Cortona.
The Young Bird-catchers ; after Gasp. Netscher.
The 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 Trevisaid.
Isaac blessing Jacob ; after the same.
lions at play ; after Rubens.
WALL, John, a physician and amateur painter,
was born at Powick, Worcestershire, in 1708. He
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.
WALLACE, William, a Scottish portrait painter,
was born at Falkirk in 1801. For some years he
practised in 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 born at Lille
in the latter half of the 18th century. He exhibited
at the Salon from 1796 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, 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 liis 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.
Brighton Chain Pier ; after the same.
Lake Nemi ; after the same.
The Dutch Ferry ; after Callcott.
On the Gulf of Venice ; after Clarkson Stanfield.
Val S. Nicola ; after J. D. Harding.
WALMISLEY, Frederick, an English subject
and portrait painter, was born in 1815. He studied
692
under H. P. Briggs, and in the schools of the Royal
Academy. He exhibited at the British Institution,
in Sufiolk 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 born 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
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 hel* 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
exliibited many, landscapes, chiefly Welsh scenes,
at the Royal 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 Epami-
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 Haepten.
WALS, Gottfried, landscape painter and en-
graver, was a native of Cologne, and flourished
about 1640. He studied under Agostino Tassi,
and worked cliiefly in Italy. He lost his life in
an earthquake at Naples.
WALSKAPPEL, Jakob van, (Walscapelle, or
Waltskapbllb,) was a painter of fruit and flowers.
The dates of his birth and death are unknown, hut
those of his pictures range from 1670 to 1680.
According to Houbraken he was living at Amster-
dam before 1667 and after 1716, and abandoned
art for some other calling. He is said to have
been a pupil of the flower-painter, Cornells Kick.
His pictures are something hke tliose of J. D. de
Heem. 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-
ation. 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
"Walther
PAINTERS AND ENGRAVERS.
century, and is remembered chiefly as a statuary
and carver, but is said to have been also a
painter.
WALTHER, Feiedeich, 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 (5. v.) he
designed a series of prints for a ' Biblia Pauperum '
(published in 1471).
WALTHER, Kael Sigmund, 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, Chaeles Emilb. See Wattiee.
WALTON, Elijah, was born at Manchester in
1833. He became a student in the Royal Academy,
where he gained a medal when only ten years of
age. He made journeys to the East, to the Alps,
to Norway, to the English Lakes and the Isle of
Wight, making drawings in which a poetic fancy
took the place of truth to nature. His work lent
itself to reproduction by chromolithography, and
so his impossible peaks and generally artificial
efieots have become widely known. He wrote a
treatise on the camel, and often employed his
pencil in the illustration of books. He died in
1880.
WALTON, Heney, 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 TsonT, 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, Paery, an English copyist and still-
life painter of the 17th century. He studied under
Robert Walker, and became keeper of the pictures
to 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 Fields
about 1700. His son, who succeeded to his appoint-
ments, was known as a copyist.
WALWERTH, Jakob Samuel, engraver, was
born at Nuremburg in 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, Beenaed Joseph, (or Wampe,) was
born 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
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.
Douai.
»»
LUIe.
Museum.
"Wappers
Hagar in the Desert.
Jesus at Emmaus.
(And three others.)
The Tribute Money.
The Last Supper.
Christ blessing little Children.
(These three are sketches for
pictures in the Churches of
S. Pierre and S. Jacques, at
Douai.)
The Judgment of Solomon.
WAMPS. See Wans.
WANDBLAAR, 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 humani,'
of Albinus. The drawings were made from the sub-
jects by himself, under the direction of Albinus.
There is an English translation, in which the figures
are copied in the original size, by 0. Grignon,
Ravenet, Scotin, and others. Wandelaar was
known as an author, and wrote a comedy called
' The Sham Relation.' It was through his exertions
that a public school of design was opened at Am-
sterdam. He died at Leyden in 1759.
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 bom August 23, 1808, at Antwerp.
He worked under Herreyns 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 the Brussels Museum, raised
the standard of revolt, and a band of young 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 officer in the Legion of
Honour. His latter years were chiefly spent in
Paris, where he died, December 6, 1874. Amongst
his works are :
Amsterdam.
Fodor I
Museum, j
E. Museum.
Antwerp. Academy.
„ Jesuits' Church.
Brussels.
„ Eoyal Palace.
Tirlemont. St. Germain.
Versailles. Gallery.
Peter the Great at Zaandam.
Van Dyck falling in love with
his model.
Portrait of himself.
The Song of Solomon.
The Presentation in the Temple.
Charles I. going to the Scaffold.
Episode of the Belgian Revolu-
tion of 1830.
Temptation of St. Anthony.
Pieta.
Defence of Rhodes.
693
Ward
A BIOGRAPHICAL DICTIONARY OF
Ward
WARD, Edwaed 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 schools of the Royal Academy.
Before he was twenty lie produced a series of
illustrations to the famous jeu (E esprit of his two
uncles. In 1836 he went to Rome, 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, he
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 ' Cimabue and Giotto.' He soon devoted
himself to the 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 Museum ; Jones
Collection), ' James II. hearing of the landing of
the Prince of Orange ' (1850 ; National Oallery),
'Louis XVI. and his family in the Temple' (1851),
'Charlotte Corday going to Execution' (1862),
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 earned 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,
the daughter of Geo. Raphael Ward, is also well
known as a painter.
WARD, Pkanois 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, George 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 the 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 portraits.
He died December 18, 1879.
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
694
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, appomted
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 great 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 BuU, Cow, and Calf
in a Meadow.
„ „ Gordale Scar, Yorkshire.
, „ Harlech Castle.
„ „ Eegent'sParkinl807. A Cattle
Piece.
" *"**i£^If ™ } °°"'^^y ^"^ ^'ss.
„ „ Pigs.
„ „ A Chinese Sow.
„ „ BuUs Fighting in a Landscape ;
St. Donatt's Castle, Glamor-
ganshire, in the background.
Boa-constrictor seizing a Horse (the horse, a portrait of
George IV.'s favourite, Apollo).
The Council of Horses. (^Jfanchester Gallery.)
De Tabley Park. {Oldham, Gallery.)
Bull-Baiting,
Among Ward's plates the best, perhaps, are:
The Centurion Cornelius ; after Bemhrandt.
Admiral Duncan ; after Hoppner.
Daniel in the Lions' Den ; after Suhens.
The Fhght into Egypt ; after F. Bol.
Descent from the Cross ; after Dietrich.
Diana and her Nymphs ; c^ter Huhe-ns.
The Alpine Traveller ; after JVorthcote.
Louisa ; after Soppner.
Thoughts on Matrimony ; after the same.
The Fruits of Early Industry and Economy; after
norland.
Smugglers ; after the same.
Fisherman ; after the same.
The EocHng-Horse ; after himself
Mrs. Billington ; after Reynolds.
(Nagler makes James Ward the painter and
James Ward the engraver two different people.)
WARD, Martin Theodore, an English animal
painter, and son of William Ward, A.E., was born
about the beginning of the 19tli 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
eai'ly part of the 17th century. He lived at
Ipswich, and was in orders, but espousing the
"Ward
PAINTERS AND ENGRAVERS.
Warren
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 born 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 Langside ; after Westall.
The Battle of Camperdown ; after Copley.
Eeview 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 G. Sovthorst.
Mary Magdalen reading ; after Correggio.
The Death of CEdipus ; after Fuseli.
The Death of the Elk ; o/ier Euiens.
The Livery Stable ; after James Ward.
The Haymakers ; after the same.
The Country Ale-House ; after the same.
The Gamesters ; after JV. Peters.
The Birth of the Heir ; after W. Bigg. And about
twenty plates after Morland, of 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 F. Grant.
Prince George of Cambridge ; after John Lucas.
Lady Vernon Harcourt ; after J. Jackson.
The Infant Hercules (the single figures) ; after Sir J.
Reynolds.
JBarl Grey, E.G. ; aftm- Jackson.
George Canning ; after T. Stewartson.
Thomas Moore ; after George Mulvany.
Garriok in the Green Boom ; after Hogarth.
John Jackson ; after Jackson.
Marriage of St. Catherine ; after Vandyck.
Some plates in the ' Gems of Art.'
WARIN. See Vaein.
WARNBERGER, Simon, landscape painter, was
born at Pullach, near Munich in 1769, and was
educated at the Munich Academy. He travelled
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
contains a ' Beech Wood ' by him.
WARNBCK, Alexander, (or Waenyk,) was
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.
Kael Bddaed Waenece, probably his son, was
born at Dantzio 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 Crucifix,' with a city in the background,
inscribing it Jh. Warnir, JS. 16, 1636, and the
following year he copied the 'Twelve Apostles,'
after the same master, which he marked Jh. W.,
JE. 17. He is supposed to have died very young.
WARNYK. SeeWAENECK.
WARREN, Alfred William, 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 Nights.' | Coxe's ' Social Day.'
WARREN, Charles Turner, an eminent en-
graver, was born 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 o'f 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 :
Lord Castlereagh ; after Laxorence.
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, Henry, 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
pubhshed an antiquarian work on the river Ravens-
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.
695
Waser
A BIOGRAPHICAL DICTIONARY OF
Watson
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 ' Sooilte Belgique des Aquarellistes,'
and of the Pennsylvanian Academy of Arts.
WASER, Anna, (or Wassee,) was born 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
the 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 were sought for also
in London and Holland. She painted pastoral
subjects and flowers as well as portraits. She died
in 1713.
WASSBMBBRG, Jan Abel, was born at
Groeningen in 1689. He was the son of an
I advocate, who, after giving him the rudiments of
a classical education, yielded to his bent towards
art, and placed him under one Jan van Dieeen.
With him Wassemherg remained until he was
twenty-three years of age, when he went to Rotter-
dam, where he formed an intimacy with Adriaan
van der WerfE. 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 Werff. He died in 1750. His daughter,
Elizabetha Geeteuida Wassemberg, painted like
her father, but sometimes approached pretty closely
to Gerard Dou. She died in 1782. Wassemberg's
son, Jan, was also a painter.
WASSER. See Wasee.
WATELET, Claude Henei, 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
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 hy L. S. Lempereur.
He was the principal author of the ' Dictionnaire
des Arts de Peinture, Sculpture et Graviire,' 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 ; engraved in 1753 ; after Cochin.
Jean le Eond d'Alembert, of the French Academy. Do.
P. Joliot de Crebillon, of the French Academy. Do.
J. P. M. Pierre, Painter. Do.
Louis de Silvestre, Painter. Do.
The Count de Vence. Do.
A. B. J. Turgot. Do.
Venus nursing Loves ; after Rulens.
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 Buins ; after Panim.
WATELETj Louis Etibnne, a French landscape
painter and lithographer, was born in Paris in
1780. He began to exhibit at the Salon in 1799,
and there his works appeared for upwards of half
696
a century. His travels extended to Belgium, the
Tyrol, and Italy, and afi'orded many subjects for
his pictures. He died in 1864. There are by
him:
Fontainebleau. Palace. Henri IV.aud Captain Michaud.
Neuchatel. Museum. Landscape.
Versailles. Palace. Reception of Napoleon I. at
Louisbourg. 1812.
And other works in the Museums of Amiens, Aix,
Bordeaux, Montpellier, and NImes.
WATERLO, Anthonie, (or Waterloo,) painter
and engraver, was born at Lille, in 1609 or 1610.
Various dates have been given for his birth, but
Mr. Bredius has discovered that his betrothal took
place in Amsterdam in 1640, the painter being at
the time thirty years of age. He was married a
few weeks later at Zevenbergen. He seems to
have divided his time mostly between Amsterdam,
Leeuwarden, and Utrecht, paying an occasional
visit to his native city. He had a chSteau 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 aUve 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 sohtary 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, fie sometimes marked
his plates with the initials A. W. /., and sometimes
with the cipher j\/y. 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.
A set of six Landscapes, with subjects from Mythology
(Alpheus and Aiethusa; ApoUo 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.
"WATHER, Philipp, painter and engraver, was
bom at Miihlhausen in 1798. He learnt etching
and engraving from Reindel at Nuremburg, and
was finally known best as a worker upon steel.
His early productions, however, were chiefly views
of buildings in oil and water-colour. His most
popular plate was ' The Baker Girl,' after Kreul.
WATMAN, Heney, an engraver of landscapes,
mentioned by Professor Christ, is said to have
marked his prints with an H and a W joined into
a monogram.
WATSON, Caeoline, an excellent English en-
graver and daughter of James Watson, was born
in London about the year 1760. She was instructed
Watson
PAINTERS AND ENGRAVEES.
Watteau
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 Carohne, and died in
Pimlico, June 10, 1814. Among others we have
the following prints by her :
Prince William of Gloucester ; after Beynolds.
Lord Malmesbury ; after the same.
Mrs. Stanhope ; after the sarne.
Sir Joshua Keynolds ; after the same.
Earl of Bute ; after Gainsborough.
Ozias Humphry, Painter ; after the same.
Two heads of Lady Hamilton ; after Eomney.
Mrs. Drummond and Children ; after Shelley.
Mrs. Siddons, as the Grecian Daughter ; after Shirrif.
Miss Bover ; after Hoppner.
Benjamin West, P.E.A. ; after Gilbert Stuart.
William WooUett ; after the same.
Sir Bobert Boyd, Governor of Gibraltar ; after the same.
Death of Cardinal Beaufort ; after Sir J. Rey-iwlds.
Marriage of St. Catharine ; after Correggio.
WATSON, George, a Scottish portrait painter,
was bom in 1767, at Overmains, Berwick. 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
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. Works :
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, having
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 :
Anne, Duchess of Cumberland ; after Beynolds.
Elizabeth, Duchess of Buccleuch, with her daughter.
Do.
The Duchess of Manchester, with her son, as Diana
and Cupid. Do.
The Countess of Carlisle. Do.
Sir Jeffery Amherst. Do.
Jemima, Countess Cornwallis. Do.
Bobert 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 Johnson. 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 Pontius, Engraver ; after Van Dyck.
Doctor Busby ; after Riley.
Charles, Duke of Richmond ; after Bomney.
The Duchess of Leinster ; after the same.
John, Duke of Argyll ; after Gainsborough.
Miss Lascelles, with a Greyhound ; after Cotes.
A Madonna ; after Beynolds.
The Children in the Wood ; after the same.
Rubens and 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 un independ-
ence by the practice of his art. He died in
America, August 22, 1768.
WATSON, Thomas, mezzotint engraver, was
born in London in 1743, and apprenticed to an en-
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 Correggio.
The Death of Mark Antony ; after N. Dance,
WATSON, William, a portrait painter, prac-
tised in Dublin in the last quarter of the 18th
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-
demy, and for one year with David Wilkie. He
settled in Edinburgh, where he obtained a good
practice as a portrait painter, and was one of
the original members of the Royal 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 born 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 ; aft-.r Stothard.
Christ blessing little Children ; after Eastlake.
The Highland Drover's Departure ; after Landseer.
WATTEAU, Antoinb, the son of a tiler, was
born at Valenciennes on the 10th of October, 1684.
His education was of the slightest, and his father
soon grew tired of paying for any at all. He
turned the lad adrift, and the latter, witliout money
or resources of any kind, made his way to Paris.
697
Watteau
A BIOGRAPHICAL DICTIONARY OF
"Wattier
Aooident made him acquainted, in the first instance,
with one Metayer, a mediocre artist, whom he soon
abandoned for a manufacturer of rough daubs,
which were sold by the gross to provincial
dealers. At this work he soon showed great
address, and for some time was employed solely
in painting figures of St. Nicholas. His pay for
such work was three livres weekly and his daily
soup. In the evenings and on liolidays he
laboured hard at the drudgery of his art, acquiring
that facility as a draughtsman which was after-
wards to distinguish his work. In the first years
of the 18th century he found his way into the
studio of Claude Gillot, from whom he acquired
a taste for modern subjects, and especially for
those with a vein of comedy in them. He soon
surpassed this master, and left him to become the
assistant of Audran at the Luxembourg. Audran
treated him well, but when, a few months later,
the younger man put a small picture before him
of his own execution, he dissembled the admiration
he could not help feeling, anfl tried to dissuade
his assistant from further attempts at creative art.
Watteau, however, 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 his first picture to a dealer,
who gave him an order for a pendant, which was
duly finished and despatched from Valenciennes.
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. Crozat, the famous collector. Crozat lent
him drawings to copy, by which his enthusiasm
for such men as Rubens and Paul Veronese was
kindled, and he endeavoured to find the means for
a visit to Italy ; but the measures he took had an
opposite result. In 1709 he had competed for the
Grand Prix de Rome, and had only been second.
In his disappointment he determined to try for
royal assistance in a roundabout fashion. He
hung up the two small pictures already mentioned
in one of the corridors of the Academy, where the
Academicians could not help seeing and admiring.
One of their number, De La Fosse, sent for
Watteau, and, reproaching him for distrust of his
own powers, declared that the Academy would
always honour such talent as his. He was imme-
diately enrolled as an Associate, and in 1717 bec^e
a full member. But this good fortune 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 Comediens Italiens '
and ' L'Amour 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 shop of the dealer Gersaint, which had a great
success. After living for twenty-six months in
Gersaint's house and finding the weakness of his
chest increase, the painter made efi'orts to dis-
cover a country retreat, where he could breathe
a purer air. With the help of his friend, L'Abb^
Haranger, he obtained the loan of a house at
Nogent, near Paris, and there he died soon after
his installation, on the 18th of July, 1721. He
left a fortune of 9000 livres, and a large number of
sketches, all of which he divided between his
698
four friends, Gersaint, Haranger, De Julienne, and
Henin. Watteau's pictures are rare, especially in
public collections.
Berlin. Museum. French Comedy.
„ „ Italian Comedy.
„ „ A Picnic.
Dresden. Galleiy. Figures on a Terrace.
„ „ Figures in a Garden, near a
Statue of Venus.
Edinburgh, Nat. Gall. A Shepherd and Shepherdess
with a Bird's Nest,
„ „ The Toy Windmill.
„ „ FSte Champfetre: Minuet in a
Garden {a masterpiece).
Glasgow. Gallery. The Encampment.
„ „ Breaking up the Camp.
Loudon. Duhdch Gall. Eepast in a Wood.
„ „ A Ball under a Colonnade (a
masterpiece).
„ Soane Museum. The Wedding {a masterpiece).
Paris. Louvre. Embarkation for Cythera. (Re-
ception picture at the Aca-
demie.)
„ Louvre (La Gaze). Gilles.
„ „ ' L'lndififerent.'
„ „ La Finette.
„ „ Figures in a Park.
„ „ The Conjuror.
„ „ The Judgment of Paris.
„ „ ' Le Faux Pas.'
„ „ Autumn.
„ „ Jupiter and Antiope.
Petersburg. Hermitaffe. The Minuet.
„ „ Savoyard, with a marmot.
„ „ The Guitar Player.
„ „ The Fatigues of War.
„ „ The Pleasures of War.
Tienna. Galleiy. The Guitar Player.
Watteau etched the following plates :
Tired Soldiers.
A set of ' Habits a la Mode.'
WATTEAU, EEANgois Louis Joseph, painter,
was born at Valenciennes, August 18, 1758. He
was the son of Louis Joseph Watteau, and the
pupil of his father and of Durameau. He also
studied in Paris, at the Ecole des Beaux Arts. In
1785 he settled in Lille, as assistant to his father
at the Academy. In 1812 he became director of
the Academy, and it is to him that Lille owes the
first foundation of her fine museum. He died there
on the first of December, 1823. The museums of
Lille and Valenciennes have examples of his work.
WATTEAU, Louis Joseph, painter, was born at
Valenciennes, April 10, 1731. He was the nephew
of Antoine Watteau, and a pupil of the Royal
Academy of Paris. In 1765 he settled in Lille,
where he became a professor at the local academy.
In this capacity he attempted to introduce the
study from the nude model, and lost his appoint-
ment, but was afterwards reinstated. In 1796 he
was employed to make inventories of works of art
abandoned by the imigi'ds or in convents. 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 opera-
tions of war. He also painted landscapes and a
few altar-pieces.
WATTIER, Charles Emilb, 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 Bagn^res-de-
Bigorre. He died in the Hopital de la Charity, in
Paris, November 22, 1868.
"VSTattier
PAINTERS AND ENGRAVERS.
Webber
WATTIER, Edotjard, 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, JanBj {nJe Waldie,) an amateur
painter, was born in 1792. She was the daughter
of a Scottish gentleman, and married Captain,
afterwards Admiral, Watts, R.N. She exhibited
landscapes at the Academy and the British In-
stitution, between 1817 and 1820, 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.
He was probably also a printseller. Amongst his
plates are :
Icarus; after VanDyck, 1778.
Nathaniel Lee ; after Dohson. 1778.
Earl of Denbigh ; after Dance, 1785.
Joseph Baretti ; aftei- Meynolds. 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, William, landscape engraver, was
born in London in 1752. His father was a silk-
weaver in Moorfields, and tlie son 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 year, 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.
WATZDORFP, Heinbich 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 Leipsic 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 numerous 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 Henry, Prince of Orange ; after Van Dyck.
Bmilie von Solms, Princess of Orange ; after tlie same.
Don Antonio de Zuniga ; after the same.
Jan Both, Landscape painter ; after Willaerts.
Herman Saftleven, Painter ; aftei- a picture by himself.
David BaiUy, Painter ; the same,
Cornells Janssen, Painter ; the same.
The Descent from the Cross ; after Rubens.
The Assumption of the Virgin ; after the same.
The Virgin and Infant Jesus ; after Van Dyck.
Mars and Venus ; after the same.
WAUQUELIN, — , a Flemish miniaturist of the
16th century. The Town I^ibrary of Brussels has
a ' History of S. Helena,' illuminated by him in
1448.
WAUTERS, Charles Augustin, 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
Mechlin Academy, and he died in that town in,
1869. A monument was erected to his memory
in the church of St. Andr^ at Antwerp. Among
other pictures by him we may name :
Karlsruhe. Gallery. The Traveller.
Mechlin. Museum, Salvator Bosa in the Abrnzzi.
)> „ Floris de Moutigny in prison at
Madrid.
„ Cathedral. The Last Supper.
„ iSt. Jean. Crucifixion. 1860.
WAXSCHLUNGER, Johann Paul, painter, born
at the close of the 17th century, was a pupil of
his father, Johann Gbobg Waxschlungeb, 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 Nj'mphenburg and Sohleiasheim
Galleries. He died in 1724.
WAY, Johan Wilhelm Cael, a Swedish painter,
was born in 1792, and died in 1873. There is
a portrait by him of Queen Ddsir^e, wife of Charles
XIV. of Sweden, in the Stockholm Gallery.
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, Westfield, 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,) landscape
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
699
Webbers
A BIOGRAPHICAL DICTIONARY OF
Webster '
Lords of the Admiralty to superintend 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 lllcole des Beaux Arts in 1813, and
studied under both Gros and Vafflard. He was
chiefly known as a lithographer, sending many
reproductions, mostly after second-rate masters,
to the Salon between 1824 and 1860. Two portraits
by him are at Versailles. He died in 1876.
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 1835 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 Stadel
Institute at Frankfort. In 1838 he settled at Diissel-
dorfj and became a most successful painter of ideal
landscapes. He has also left some lithographs.
He died at Diisseldorf in 1873. A ' Westphalian
Landscape ' by him is in the Berlin National
Gallery.
WEBER, Feiedrich, an excellent Swiss 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 Yoimg Man ; after Raphael.
The Empress Eugenie ; after Winterhalter,
The ' Vierge au Linge ' ; after Bap/iael.
The Lugano Madonna ; after Zuini.
Sacred and Profane Love ; after Titian.
Portrait of the Empress Josephine ; after David.
Portrait of Giulio Bomano ; after himself.
Portrait of Hans Holbein ; after the same.
Lais Corinthiaca ; after the same (?).
WEBER, Otto, a native of Berlin, was a pupil
of Steffieck 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 (Bavi^re),' 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,
December 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 ;
700
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,' in the
Kensington Museum.
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 bom in Pimhco 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 he is best known
to the present generation, and which are familiar
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 Ira-
penitent,' ' Sickness and Health,' and ' The Pedlar.'
In 1845 appeared ' The Dame's School,' made by
engravings almost as familiar as ' The Frown,' and
' Tlie 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,
Weohmger
PAINTERS AND ENGRAVERS.
Weenix
A School Playground.
ABC.
A Dame's School.
Peasant Children.
Hide and Seek,
In 1844 he painted a portrait of himself and his
wife, and one of his 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 Internal Bsonomy
of Dotheboys HaU.
A See-saw.
A Slide.
A Chimney Corner.
The Truant. {National Gallery]
A Dame's School. (Do.)
Tillage Choir. {Do.)
Portraits St the artist's father and mother. {Do.)
Sickness and Health. {S. Kensington Museum.)
A tillage Choir. {Do)
Going to the Fair. {Do.)
Returning from the Fair. {Do.)
Contrary "Winds. (Do. )
Reading the Scriptures. {Do.)
WEGHINQBR, Jeremias, painter, a native of
Ansbach, flourished in the 16th century. In con-
junction with J. (?) Herlin he painted a ' Fight with
the Amalekites,' on the fagade of the Rathhaus
at Nordlingen, in or about 1594. He is further
known by a ' Last Supper,' still extant (late Hess
Collection, EUwangen).
WECHTLIN, JoHANN Ulrich, (Wbohttel, or
VuEOHTBLiN,) Called also J. Ulkioh, 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-
tel the Painter,' and is thought to have worked at
Strasburg from 1508 to about 1620. 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 style of Dure?').
The Virgin, half-length, with the Infant in her arms.
St. Jerome in the Desert, with a book ih 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, Mundanae foelicitatis gloria.
Thisbe and the dead body of Pyramus, with an inscrip-
tion. Quid Venus in venis possit, &c.
Orpheus charming the Brutes; inscription, Orpheus
■Dates.
Alcou, a famous Archer of Crete, delivering his Sou
from a monstrous Serpent.
A 'Warrior on horseback, armed cap-^pie, accompanied
by a Halberdier on foot.
It must be noted that the identification of Johann
Ulrich Pilgrim {Le Mattre aux Bourdons Croisis)
with Johann Wechtelin, the painter, of Strasburg,
and author of a well-known Passio 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. Vueohtlin, 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, 1866.
WEBLING, Ansblm, was born at Bois-le-Duc
in 1676. 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
Schalckeu and Adriaan van der WerfE. 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. S. Museum. The Country House.
„ „ Male Portrait.
Berlin.
„ Three trophies of Game.
Museum. Princess Charlotte of Orleans.
„ „ Two pictures of Game.
„ „ Flowers.
Dresden. Gallery, Four trophies of dead Game.
Haarlem. Museum. Portrait of Anthony de Sad-
elaer.
„ „ Portrait of Margaretha Tersijl,
wife of Sadelaer.
London. Duhoich 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 hunting Equipment.
„ „ Game.
„ „ A Seaport.
Petersburg. Hermitage. 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 his pictures J. Weenix.
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 he was placed by his mother with
a bookseller, with the intention of bringing him up
to that business. But such was his inclination for
701 '
Weerdt
A BIOGRAPHICAL DICTIONARY OF
"Weijerman
drawing, that he was permitted to follow the bent
of his genius, and he first became a scholar of
Johannes Mikoker, 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 Pamphili 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
Chateau 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 liistory, portraits,
genre subjects, landscapes, animals, and dead
game, but his 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 frere,
Cy git la femme, et le mari,
Et il n'y a que deux corps ioi.
1651. Giovan. Battista Weenix.
Works ;
Amsterdam.
Antwerp.
B. Mia,
Museum,
Berlin.
Blenheim Palace.
Dresden.
Gallery.
Glasgow. Gallery.
London. National Gal.
Munich.
Gallery.
Paris. Zouvre.
Petersburg. Hermitage.
Vienna.
Gallery.
Dead Game.
An Italian Seaport.
Erminia and the Shepherds.
Italian Seaport. (A master-
piece.)
Meeting of Jacob and Esau.
Dog and Hen.
Buins of a Temple.
Hunting scene, man ' cleaning '
a Deer.
Knife-grinder and other figures
before a fine Building.
Girl_ sleeping before a Building
■with Columns.
Corsairs repulsed.
The Roman Campagua.
A Seaport.
A Seaport.
He usually signed his pictures Gio. Batta.
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 Wbeet.
■ WEESOP, , is stated, in the 'Anecdotes of
Painting in England,' to have arrived here in 1641,
a little before the death of Van Dyok, of whose
manner he was a successful imitator. He left
England in 1649, saying, " he would never live in
a country where they cut off their king's head, and
were not ashamed of the action."
WEET. See Duwett.
WEGERT, August, painter, born at Berlin in
1801, was a pupil of Scbadow. He painted por-
traits and historical pictures, and in 1825 com-
peted for the grand prize, the subject of his com-
702
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.
WEHLB, Hbinkich Theodoe, draughtsman and
painter, was born at Fortschen, near Gdrlitz, 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 Goufiier, 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 Gbrlitz, in 1805.
WEHNERT, Edwaed Henet, painter in water-
colours, was born in London in 1813. *His parents
were German, and sent him to Gottingen for his
education. He returned to England about 1833,
and began the study of art. He at first exhibited
in Sufi'olk 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 Water-Colours the same year. In 1845 he was
a competitor at Westminster Hall. 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 figure subjects,
good in drawing but bad in colour, and German in
general character. Works :
George Fox preaching in a tavern. (Smith Kensington
Museum^
The Triumph of Justice, cartoon. (SraiA Kensington
Museum.)
WEIDE, RoGBE VON DEB. See Van dee Weyden
WEIGEL, Cheistoph, a German engraver, was
born at Redwitz in Bohemia, in 1654. Between
1666 and 1691 he visited successively Hof, Jena,
Frankfort, Vienna, and Augsburg, to study the
different branches of engraving. He finally 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.
There is also a mediocre mezzotint by him, in-
scribed 'Carolus V Dei gratia Lotharingise Barri,
&c. Dux. G. Weigel f. et. ex. 1688.'
WEIGEL, Hans, was a draughtsman, engraver
on wood, and printer, at Nuremburg ; he was at
work as early as 1535, and died in or about 1590.
He marked his cuts H 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 know-n 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— GedruclctzuNurnherg hey Hans Weygel
Formschneyder, ley dem Sonnenhad.
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 ; Peedbik
WiLLEM, who was born in 1668,' and died in 1750;
and Kaeel Emilius, his cousin, or nephew, born
in 1685, and died in 1735. The latter is said also
to have engraved.
WEIJERMAN, Jakob Campo, landscape and
flower painter, was born at Breda in 1679, and is
Weiner
PAINTEHS AND ENGRAVERS.
Weitsoh
said to have been a scholar of Perdinatid 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 hia 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 Bast 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 Weinhbe, sometimes called
JoHANSSEN Weynees,) was a painter and engraver
of Weilheim, in Bavaria, and was in the service of
the Duchess Maximiliana 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
W, with a bunch of grapes. It is to be noted that
the initials ZT W^ were used by other artists of about
the same period, such as Hans Weigel {q. u), and
it is possible that some of the prints attributed to
Weiner may be by other hands.
WEINHER, Petee, 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 him. 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).
WEIROTTER, Feanz Edmund, 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 ruins,
bridges, churches, cottages, &o., 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
Staremberg.
Twelve Views in Italy; dedicated to Duke Albert of
Saxe-Teschen.
WEISHUN, Samuel, 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. Among them
is a head inscribed Daniel Semiestus, Wittenb.
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, Bartholomaus 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 Strigno,
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 Pendi.
WEISS, Eleazah. See Albin.
WEISS, Ferdinand, was a portrait painter and
draughtsman, who worked extensively for the
Berhn Art Union. He died at Berlin in 1878.
WEISSBROD, Kael Wilhelm, an engraver, was
born at Ludwigshurg about 1750. He was
probably first instructed by his father, Johann
Philipp Weissbeod (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-
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 born at
Dresden in 1761, and was instructed 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
prints by him :
The Landgrave of Hesse-Oassel ; after Graff.
The Landgravine of Hesse-Cassel ; after Kschbein,
Apollo playing on the Lyre ; after the same.
A Landscape, with a Waterfall; after Everdingen.
A Landscape, moonlight ; after Dietrich.
WEISSENBRUCH, Johannes, a Dutch painter,
and pupil of Salomon Leonardus Verveer, was born
at the Hague in 1822, and died there in 1880. The
Eijks Museum at Amsterdam has two views of
towns by him.
WEITSOH, Feiedeich Geoeg, historical painter,
was bom at Brunswick in 1758, and was the son
of the 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,
703
Weitsch
A BIOGRAPHICAL DICTIONARY OP
Wenng
and the Hereditary Prince and Princess of Bruns-
wick.
WEITSCH, JoHANN Fribdeioh, 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 Salzdahlen, 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
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 Wilboen.
WELL, Aenold 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 horn at Kirchberg in
Saxony in 1759, and after studying at the Meissen
school of design, was placed in the porcelain factory,
where he painted historical pictures and portraits
upon china. Later on he took to iiower 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 ipse pinxit, cetat 30, 1718.
WELLS, Joanna Mary, nee Boyce, born 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 1857 she passed in Italy, and in December
was married at Rome to Mr. H. T. Wells, now R. A..
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 I '
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 Peedeeick, 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 iu 1806 was its President.
Between 1795 and 1813 he exhibited at the Royal
Academy, and also, between 1805 and 1812, with
his own sofifttv. jje travelled on the continent,
704
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, JouANN Fmedeich, painter, bom 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 Munster, working also as a
restorer of pictures, and publishing a book on that
subject.
WELTE, Gottlieb, painter and etcher, was
bora 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, bambocciate,
and caricatures. There is a series of fifty-eight
etchings by him.
WBNCELAS, (or Wenoeslads). See Ollmutz,
Wenzel von.
WENDELSTADT, Kael Peiedeich, painter
and etcher, was bom 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.
WENDLER, Friedeich Moeitz, 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, Albxei Gawrilowitsch, was
born at Ndjine 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 5, 1846. Among his works
are :
The Thresbing-floor.
Peasant Girl receiving the Oommunion.
A Feasant Lad. (Hermitage.)
WBNG, (Wengh, Wenig, 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 for (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, Kael Heineich, painter and litho-
grapher, was born at Nbrdlingen in 1787. He
Wentzel
PAINTERS AND ENGRAVERS.
"West
studied art in his native town, and afterwards
went to Stuttgart to learn engraving under Mtiller.
He soon determined, however, to devote himself
to painting, and after travelling in Switzerland and
Italy, he went to Munich, to work under Langer.
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 Sohloss
Bosenstein. 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 Pbiedrich, 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 portraits, 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 Grosssohonau
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, &o. Later on he settled at
Leipsic, where he published a series of motives for
ornaments.
WENZEL, See Ollmutz, W. von.
WERDMOLLER, Johann Rudolph, 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 iii
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.
WERFP (or Wbrf). See Van der Werff.
WERNER, Anna Maria, (or Marianne, nde
Hatd), was born at Dantzic in 1688. She studied
under her father, Andreas Hayd, and in 1705
married the painter Christoph jfosEPH 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 1763.
WERNER, Jacques Cheistophe, 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
his skill in the delineation of birds and animals.
Many drawings by him, on vellum, are in the
Museum there. He died in Paris in 1856.
WERNER, Joseph, was born at Berne 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
Blectress 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 ;
this 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.
WERTMiJLLER, 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,
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. Musewm, Aria'dne abandoned at Naxos.
„ „ Marie Antoinette and her
children.
„ „ Portrait of Count Armfelt.
„ „ Portrait of himself.
„ „ David with the Sling.
WBRY, Gerard, one of the pupils of Rubens,
born in 1605, died in 1644. He was known chiefly
as a copyist of his master's works, and never
attained to any distinction in the school.
WERY, Pierre Nicolas, born in Paris in 1770,
died at Lyons in 1827. The Lyons Museum has a
landscape by him.
WESEL, Tblman von. See Tblman.
WEST, Benjamin, was born 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 that 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
705
West
A BIOGEAPHICAL DICTIONARY OF
West
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 money; 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 Eome 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 Parma,
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 effect, 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-
torical painter to the king. On the death of Sir
Joshua Reynolds, West was elected to the presi-
dent' s chair, and took his place on the 24th 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. 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. Those formerly
in the National Gallery have been removed to pro-
vincial museums, as may be seen by the following
list:
Glasgow. Gallery. Pylades and Orestes.
Hampton Court. Death of Bayard.
„ The Oath of Hannibal.
„ Germanicus and the Wife of
Armenius.
„ St. Peter denying Christ.
„ Cyrus liberating the Family of
„ Death of Bpaminoudas.
„ St. George and the Dragon.
„ Kegulus leaving Rome. (Eight
Eoyal portraits.) .
Liverpool. Walker Gal. Cleombrotus.
London. Orosvenor So. Death of General Wolfe.
No.ttingbam. Museum. Christ healing the Sick.
WEST, Ohaeles, an English engraver, was born
706
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 Eobbbt, an Irish historical
painter, and son of Robert West junior, was bom 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 Hendeik van, a modem Dutch
painter, was bom in 1803. He was a pupil of C.
Kruseman ; he 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 Lamae, an English historical
painter, born in 1769. He was the son of Benjamin
West, and studied 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 his
father. He died at Bushey in 1850. ' Orlando and
Oliver,' in the Shakespeare Gallery, was by him.
WEST, Robekt, topographical draughtsman,
drew a series of views of ancient buildings in
London and Westminster, which were pubhshed
between 1736 and 1739.
WEST, Robert, an Irish historical painter, bom
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 Lucius, an Irish historical
painter, the son of F. R. West, whom he succeeded
in 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 Eoyal 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 Wolsey leaving London after his fall.
Charles I. taught drawing by Hubens.
WEST, William, landscape painter, was bornm
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
PAINTERS AND ENGRAVEBS.
Wet
WESTALL, RicHAED, was bom 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 Square. It had two en-
trances ; on the 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 he 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 Orabbe, 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,' vdth plates engraved by
J. and 0. Heath after his own designs. Towards
the close of his 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 is a ' Cassandra pro-
phesying the Fall of Troy ' by him, in water-colour,
in the South Kensington Museum. His 'Christ
crowned with Thorns ' is in AH Souls' Church,
Langham Place.
WESTALL, William, brother of Richard West-
all, was born at Hertford on the 12th October, 1781.
He studied under his brother, and in the schools
of the Royal Academy. When only nineteen, he
was appointed draughtsman to Captain Plinder's
Australian expedition. After being out some two
years, his ship was wrecked ofE the north coast of
Australia, and he rescued by a ship bound for China.
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 the Mahratta country, making
drawings at Kurlee and Elephanta. Returning
to England after an absence of four years, he
soon 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 he was elected
an Associate of the Water-Colour Society, and in
the year after a full 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 Museum.)
The Cottage Door. (Do.)
A Village Church and Green. (So.)
' Views of scenery in Madeira, at the Cape, in China
and India.' 1811.
' Views of the Yorkshire Caves.' 1818.
' Britannia delineata.'
'Picturesque Tonr on the Eiver Thames.' (Jointly
with Samuel Owen.)
Z Z 2
WESTCOTT, Philip, an English portrait painter,
was bom 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.
WESTENBEEG, Pibtee Geoege, 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
bom 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
he 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 Giaoomo Antonio Moriga; after Lod. Ant.
David.
Prince Eospoli ; after the same.
Michelangelo Tambnrini, General of the Jesuits;
after Ant. Odati. ,
The Transfiguration ; after Baphael.
St. Andrew upon the Clouds ; after Domenichino.
A Female Figure, with a Unicom ; after Ann. Carracci.
The Descent from the Cross ; after Dan. da Volterra.
Attila before Eome ; after Algardi.
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, Cheistianb Heneiettb, nie
Stotzee, painter, etcher, and embroiderer, was born
at Weimar in 1772, and instructed in the school of
her native town. About 1800 she married Konrad
Westermayr, 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, Konhad, 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 Berliohingen ' after Tischbein.
WESTFALIA. Giov. di. See Veldenaeh.
WESTPHALEN, Albeet von. See Aldegrevee,
Heineich.
WET, G. and J. See Duwbtt.
707
Wette
A BIOQBAPHICAL DICTIONARY OF
WMtaker
WETTE, Frans 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, Julius, genre painter, was born at
BerUn 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 Berhn, and became well known
by his scenes from bourgeois life. He died near
Stettin in 1869.
WEYDEN, EoGEE van der (or Weyde). See
Van deb Weyden.
WEYDMANS (or Weydeman). See Weijdmans.
WBYDMULLEB, Johanna Elisabeth, nee
Kbuger, 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 bom 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 G. and a TFOi ^nd left a number of pen
drawings washed in Indian ink. He died at Coburg
in 1640.
WEYER, Hans. See Wbiner.
WEYER, Jakob Mathias, (or Johann Mathias,)
was born 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.
WBYERMAN. See Weijerman.
WEYGANDT, Sebastian, was born at Bruchsal
in 1780, and taught successively by Engelhard, the
sculptor Giinther, and Sohweickart. He settled
as a portrait painter, first at Augsburg, and after-
wards at Wallerstein, 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 officers, 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 Kuglee.
WEYLER, or WEYLLBR, 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 being 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-
708
selle Kugler, who became his wife, worked in the
same qenre. He died in Paris, July 25, 1791.
WEYNERS. See Weiner.
WHARTON, Philip F., an American painter,
was bom 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
he was much employed in portraiture, and painted
a large picture, representing the ' Irish House of
Commons,' 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, with a shooting party.
The Disaster {Sir Charles Tennant, 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.
WHITAKER, George, a water-colour painter,
born about 1834, who chiefly painted the scenery
Wliitaker
PAINTERS AND ENGRAVERS.
White
of his native Devonshire, where he resided for most
of his life. He died at Dartmouth, September 16,
1874.
WHITAKER, James William, was born at
Manchester, and apprenticed to an engraver for
calico printers. Coming into a small fortune, he
migrated to Llanrwst, North Wales, where he
practised landscape painting in water-colours. He
was elected an Associate of the Old Water-Colour
Society in 1861, and a member in 1864. Falling,
however, into habits of intemperance, he failed to
improve in his art, and was drowned at Bettws-y-
Coed on the 9th September, 1876.
■Water-mill and Cottages, Stoke Gabriel, Devonshire.
(South Kensington Museum.)
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, Chaelbs, an English engraver, was
born in London in 1761. He was a pupil of
Franker, 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 Pimlico, August 28, 1786.
WHITE, Charles William, an English en-
graver, was bom 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.
WHITE, Edwin, an American painter, born about
1817. He began to paint when only twelve years
old, and studied in Paris, Rome, Florence, and
Dtisseldorf. 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, Geoege, 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 so 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 Eiohard Blackmore, M.D. ; afte)' 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 Drydeu ; after the same.
Alexander Pope ; after the same.
Thomas Bradbury ; after Gibson.
George Hooper, Bishop of St. Asaph ; after Sill.
Colonel Blood (who stole the Crown).
William Dobson, Painter ; from a picture ty himself.
A Man playing on the Violin ; after Frans Hals. 1732.
POETEAITS in LINE.
James Gardiner, Bishop of Lincoln ; after M. Sahl.
Charles II. of Spain; begun by Eobert "White, and
finished by George White, whose name is affixed.
The Duke of Ormond.
Lord Clarendon.
WHITE, Heney, 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,' <fec.
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, Robeet, engraver and draughtsman,
was bom in London in 1645, 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 engraved
from drawings by White, whose portrait Sir Godfrey
painted in return. In 1674 he engraved the head-
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 his
plates are executed with the graver ; he scraped a
few heads in mezzotint, but they are very inferior
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. Janssens.
George, Earl of Cumberland, habited for a tournament.
Charles I. ; ^ter Van Dyck.
Another of Ciharles I. ; after B. Van Voerst.
Prince Eupert ; 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 Sancroft
and Chancellor Jefferies.
James II. when Duke of York, in the Garter robes.
Maria Beatrix of Bste, his consort ; after Kneller. 1686.
Henry, Duke of Gloucester. | Lady Mary Johffe.
Heneage, Earl of Nottingham. | Thomas, Duke of Leeds.
Su: Edward Ward, Chief Baron. 1702.
Chief Justice Treby of the Common Pleas. 1694.
Samuel Pepys ; after Kneller.
George, Earl of MelvU ; 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 Hayla.
Sir John Fenwiok ; after TVissing.
709
White
A BIOGRAPHICAL DICTIONARY OP
■Wiegmann
The Seven Bishops ; seven small ovals in one plate.
The Five Bishops who suffered Martyrdom ; five ovals
in one plate.
Duke of ilorf oik, mezzotint ; after Kneller.
John, Earl of Radnor, ditto ; ditto.
WHITE, Thomas, engraver, vras born in London
about 1730. He was for some time employed by
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 Britannious.' His name
is also afSxed to a landscape after Brueghel, etched
by T. Saunders, and finished by White and Ryland.
He died in London about the year 1775.
WHOOD, Isaac, an English portrait painter,
bom 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. Sail. Several Portraits.
Lambeth Palace. Archbishop "Wake. 1736.
Wobum Abbey. Duke of Marlborough. 1734.
„ „ Hon. John Spencer. 1737.
„ „ The third Duke of Bedford.
{And others.)
WIBERT. See Vuibekt.
WICAR, Jean Baptists, (or Vicae,) 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 Paris with a pro-
vision from the Lille municipality, and studied
painting under David and engraving under Le Bas
and Bervic. 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 brought
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 ofE to Paris.
About 1800 he settled in Rome, and became well
known as a painter of portraits, producing among
others those of the Duke and Duchess of Torlonia,
of Murat, and of Pius VII. In 1805 he became
a member of the Roman Academy of S. Luke, and
a few years afterwards director of that of Naples.
He died at Rome in 1834, having bequeathed his
collection of drawings and works of art to his
birthplace, with a fund sufficient to send three
pensioners annually to Rome. Pictures :
Joseph interpreting the Dreams. {Lille— his first
picture.)
The Concordat between Pius VII. and Napoleon.
The Raising of the "Widow of Nain's son. {Lille
Mi^eum.)
Portrait of Murat. (Do.)
„ himself. (.Do.)
„ M. Lesage Lenault. (Do.)
Virgil reading the ' jSlneid ' before Augustus. (Do.)
The Resurrectiou. (Archbishop of Ravenna)
WICHMANN, Adolph, historical painter, was
bom at Celle, Hanover, in 1820, and in 1838 en-
710
tered the Dresden Academy, where he worked in
Bendemann's atelier till 1847. On quitting Dres-
den in 1847 he worked in Venice and Rome tiU
1851, and the next year returned to Bendemann.
He settled in Dresden, where he died in 1866, His
best known pictures are :
Christ the Comforter.
The Bequest granted. {^Munich, New Finakothek.)
The "Virgin and St. Ehzabeth watching the sleeping
Child Jesus. (Lieye Gallery.)
Rachel weeping for her Children.
WICHMANN, J., a German engraver, flourished
about the year 1683. His name is afiBsed 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 Gottfeied, 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.
WICKENBBRG, Petee Gabeiel, 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.
„ „ "Winter Scene in Holland. 1840.
„ „ Eve mourning for Abel. 1835.
„ „ Landscape with Sheep.
, WICKER, JoHANN Heineich, an engraver, was
born 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.
WICKSTEAD, Philip, was a native of London,
and a disciple of Zoflfany. 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 bom 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.
WIEGMANN, Rudolph, a well-known German
architect, 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 ia
known by the following architectural views, among
others :
The Engel'.b-irg. (For the Duke of Cambridge.) 1834.
The Via Sacra. 1834.
View of Borne from the Loggie of the Vatican. 1836.
The Interior of Bonn Cathedral. 1842.
Interior of San Marco at Venice.
Wieling
PAINTEES AND ENGRAVERS.
Wierix
His -widow, Mabie Wiegmann, n6e Hakckb, is a
successful portrait painter.
WIELINGr, Nicolas, an historical and portrait
painter, is supposed to have been a native of the
Hague, where his name occurs La 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 Wieeinqen.
WIEEINGA, Gerard, bom at Groningen, was
the son and scholar of his father, Jan "Wiehinga
(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
gold medal from the Leyden Academy. He died
in 1817.
WIBRINGEN, CoRNELis Claesz, was born at
Haarlem about 1570-80. He was brought up to
a sea life, and excelled in painting s'ea-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.
WIERIX, the brothers Anthonie, HiBRONTirDB,
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 RaisonnS de I'CEuvre des Trois Freres, Jean,
J6rome, et Antoine Wierix ' — Bruxelles, 1866. M.
Alvin gives a list of two thousand prints by them.
Only the most important are mentioned in the fol-
' lowing articles.
' _ WIERIX, Anthonie, (Wierx, or Wieeinx,) de-
signer and engraver, the youngest of the family of
the Wierixes, was bom 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. ; Ant. Wierix. J Philip II.
■Wuhelm, Elector FaUttine. | Aichdnke Ernst.
Pliilippe Emanuel de Lorraine, Duo de Merooeur.
Horgpet, Queen of Philip III. of Spain.
Cardinal Eellormin.
Albert of Austria, Archbishop of Toledo and Governor
of the Low Countries.
St. Sebastian. lAnt. Wiercx fee. Hier. Wiercx inv.)
St. Theresa. (From his oion design.)
St. Dominick receiving the Eosaiy from the Virgin (Do.)
The Marriage of St. Catharine. (Bo.)
The Entombment. (Do.)
St. Jerome praying, with Angels ; dated 1584. (Do.)
Susannah and the Elders. (Do.)
Virgin and Child, in a landscape. (Do.)
Virgin and Child, in a Heart. (Do.)
The Eepeutant Magdalene. (Do.)
The Adoration of the Magi ; after M. de Vos.
The Crucifixion ; ve)-y fine; after the same.
The History of the Prophet Jonah ; in four plates ;
after the same.
A Biposo ; 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, Hieronymus, (or Wibrinx,) was born
at Antwerp or Amsterdam in 1561. Died in 1619.
He is supposed to have learned the art of engrav-
ing from his brother Jan, whose style he followed
so exactly, that it is difficult to distinguish their
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,
EI. W., or HI. W. F., or J. Hieronimus W. Fe. ;
sometimes with a monogram composed of an H, an
/, and an E, joined together and followed by a W,
thus, Py,"W^. 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 Famese, Duke of Parma.
Sir Francis Drake.
Henriette d'Estragues, Marquise de Verneuil. 1600.
St. Cecilia. (From his own design.)
The Temptation of St. Anthony. (Do.)
St. Bruno, the founder of the Carthusians, (Do.)
S. Carlo Borromeo. (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. Malmse.
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. Mostaert.
The Scourging of Christ; after the same; vert/ fine.
The Baptism of Christ by St. John ; after S. Sondius.
The Charge to Peter ; after M. de Vos.
The Passion ; after the same.
The Triumph of Truth ; after the sam£.
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.
WIERIX, Jan, (Wierx, orWiERiNX,) draughts-
man and engraver, was born at Antwerp or Am-
sterdam in 1549. 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
Diirer, and has copied several of the prints of that
711
A BIOGEAPHICAL DICTIONARY OF
Wiertz
master with a preciaion 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 1. H. W. F.-i to which he occasionally added
his age, and the date of the year in which the
plate was engraved. The following are among his
best works :
Eodolphus n., Emperor of Germany.
Philipp Willem, Prince of Orange.
Eleanore de Bourbon, Princess of Orange.
James I., King of England, and his Queen ; scarce.
Philip 11. of Spain.
Marie de' Medicis, Queen of France.
Henry IV., King of France.
The Marquise de Verneuil (after F. Clouet, probably a
copy from Hieronymus' larger plate).
The Virgin enthroned.
The Eesurreotion ; inscribed Insanus Miles, etc. {From
his ovm design^
Mary Magdalene seated at the Entrance of a Grotto ;
J. Wier inv. etfec. (Do.)
An allegory, the Eedemption of Mankind. (Do.)
Orpheus charming the Beasts. (Do.)
The Four Elements ; Wierix. 1601. (Do^
The little Satyr; copied from Alirecht Siirer, when
Wierix was only twelve years of age.
Adam receiving the forbidden fruit from Eve ; also
copied from Diirer; upon a tablet is inscribed Albert
DUrer inventor, Johanes Wierix fee. (et. 16.
St. Jerome in meditation ; copied from Alirecht Siirer.
Melancholy ; signed Johan "Wiricx Fecit an. 1602.
The Christian Virtues giving Oil to the "Wise Virgins ;
after Grilles Coignet.
The Marriage of St. Catharine ; aftei- D. Calvaert.
Abraham's Sacrifice ; after M. de Vos.
\ The Death of Moses ; after the same.
Descent from the Cross ; after 0. van Veen.
The Last Judgment ; copied from Martin Rota's print
after Michelangelo.
Descent from the Cross ; after Sem. Fassari.
WIERTZ, Antoinb Joseph, was born at Dinant,
February 22nd, 1806, but at the age of fourteen
came to Antwerp, and studied under Herreyns and
Van Bree. In 1832 he gained the Roman pension,
and spent some time in Italy, where he painted the
portrait of Lsetitia Bonaparte, and the best of his
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
ffisthetic 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 our English poet-
painter, William Blake. At Wiertz's death in
Brussels, June 18th, 1865, the house in which he
had lived in that city, built to imitate a ruined
temple, was converted into a museum, in which a
712
Wijok
large number of his works are now preserved, and
which is known as the " Mus^e Wiertz." Among
the most famous pictures of the collection are the
'Triumph of Christ' (1848), ' Napoleon in Hell,'
' The Suicide.' Towards the end of his career he
made some essays in sculpture, which he had
studied in his youth. 5.8.
WIEEX. See Wierix.
WIESSNER, KoNBAD, painter and engraver, was
born at Nuremberg, June 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 Alhrecht
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 that 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 1615, and died in 1662-3.
WIGMANA, Geeaed, was bom 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 Wyok or
Wtke,) 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 Schomberg,' 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 hunting and hawking. He
died at Mortlake in 1702.
WIJOK, Thomas, (Wyck, or Van Wyck,) was
born 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
Naples, where he executed many sketches which he
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-
"Wijckersloot
PAINTERS AND ENGRAVERS.
land about the time of the Reetoration, 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
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 by
Thomas Wijck of landscapes and figures ; the
best known of them is 'The Open Coffer.' His
pictures are to be met with in numerous European
galleries. The following may be mentioned :
Amsterdiim. S. Museum.
Haarlem.
Hotterdam.
Museum,
Eustio Interior.
An Alchemist.
Buins of a Boman Temple.
Woman with Children.
WIJCKERSLOOT, J. van, a Dutch painter of
the 17th century, supposed, from the extreme rarity
of his works, to have painted as an amateur. He
may be identical with one Johannes Wijckersloot,
a clergyman at Weesep, near Dordrecht, in 1661.
His few known cabinet pictures are carefully exe-
cuted in the manner of Teniers. The Berlin
Museum has a portrait of a young lady by liim.
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 Wijnants,
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 Haarlem, 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 he 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 Uouffage of his landscapes. It is probable
that many works ascribed to him are by Jan
Wouwerman. Pictures by him :
Amsterdam. E. Museum. Landscape, with hunters. (The
figures by Adr. v. de Velde.)
„ „ The Farm.
„ „ Hilly Landscape.
{And Jive others.)
Antwerp. Museum. Two Landscapes, with figures
by Adr. v. de Yelde.
Berlin. Museum. Landscape — a harvest field,
with figures by Adr. v. de
Velde.
Copenhagen. Gallery.
Dresden. Gallery.
" )>
Dulwich. Gallery.
Edinburgh. Nat. Gall.
Glasgow. Gallery.
Hague. Museum.
London. Nat. Gallery.
Munich.
Paris.
Pinacothek.
Lceuvre.
Petersburg. Hermitage.
Vienna. Gallery.
Brussels.
Museun. Four Landscapes.
Wilbaut
Landscape, with a hunting-
party painted by Philips
Wouwerman,
Landscape, with a Woman
driving an Ass.
Small Landscape, with shep-
herds and sheep.
Two Landscapes, companion
pictures.
Landscape, with figures by Jan
Lingelbach.
Two Landscapes.
Borders of a Forest, with figures
by Helt Stokade (?).
A Bead on the Dune.s.
Landscape with figures.
Landscape, with man fishing,
and female bathers.
Landscape with Sportsman.
Two other Landscapes.
Eight Landscapes with figures.
Three Landscapes, one dated
1668.
An Italian Landscape. 1679.
{And seven others.)
Two Landscapes.
WIJNEN, D0MiNicn& van, (called Ascanius,)
was born at Amsterdam in 1661, and studied in the
school of the Hague painter Doiidyns, 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.
WIJNGAERDB. See Van den Wijngabrde.
WIJNTRACK, D., (or Wijnteanck,) a Dutch
painter, lived at Drenthe in the 17th century, and
was noted for his painting of water-fowl. He
enriched the pictures of Wijnants, Ruysdael, and
other painters with wild 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. Petersburg ; and one is ascribed to him in the
Louvre.
WIJTMAN, Matheus, was bom at Gorcum in
1650, and studied for some time under Hendrik
Verschuringh. His first pursuit was landscape
painting; but he afterwards became a scholar of
Jan Bijlaert, and applied himself to painting con-
versations, and domestic subjects, in which he
imitated the style of Caspar Netscher with suc-
cess. He also painted flowers and fruit, and his
pictures of that description possessed great merit.
He enjoyed a considerable reputation at his death,
in 1689. The Dresden Gallery has a picture by
him 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
713
■VlTilbaut
A BlOGBAPfllOAL DlCTIONABY Of
Wilkie
the French Revolution; but in the Museum of
Eheims and the parish church of Eethel there are
pictures by him. He died in his native town, June
18, 1816.
WILBAUT, Nicolas, painter, born at Chfiteau
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.
WILBOEN, Nicolas (incorrectly called Wel-
EHONNEk). The real name of this engraver is
Nicolas Wilboen ; it was Professor Christ who
turned him into Welbronner. He is stated by
BruUiot to have produced eighteen etchings marked
with the letters if. 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 KnipperdoUing, the chief of the
Anabaptists of Miinster, dated 1536 ; copied from a
print by H. Aldegrever.
Victory and Fame ; copy from the Master of the
Caduceus,
A Sacrifice to Priapus ; copy with variations, fr(ym the
A Triton making love to a Siren ; copy in reverse /rom
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 exhibited 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 1818, 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
while sketching the roof of Henry 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 large collection of his drawings
in the South Kensington Museum.
WILDE. See De Wilde.
714
WILDENS, Jan, was bom at Antwerp m 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 him 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. Rohhertus de haudom excudit Amstelodami,
1616. His son, Jbeemias, born in 1621, was also
a painter. He died a few weeks after his father.
WILDER, Gbobg Cheistian, designer and en-
graver, was born 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 Batisbon
in the same manner. He died at the former city
in 1855. His brother, Johann Cheistoph Jacob
Wildee, (bom 1783, died 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 Willeboets.
WILHELM VON KOLN (or Mbister Wilhelm).
See Koln.
WILKIE, Sir David, was born at Cults, in Fife-
shire, on November 18, 1785. His father, the
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 Batho 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 first
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
difficulty 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 ' Yit-.
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, 1806, took lodgings
at 8, Norton Street, Portland Road, and a few
months afterwards he was at work in the schools
Wilkie
PAlNTEiRS AND ENGEAVERS.
tSfilkie
of the Koyal Academy. Before he left Scotland
he had painted a smalS picture called ' The Village
Recruit. This and a few studies brought in the
funds on which he lived during his first year in
London. Stodart, the pianoforte-maker, who was
married to a connection of the Wilkies, introduced
the young 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 Tiddler,' exhibited in 1807 ;
for the latter the ' Rent 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 bought 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, was 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 Raimbach, returning by
the way of Calais, where, like Hogarth, he was
arrested for sketching the famous gate. In 1817
he made a journej^ in Scotland, covering much the
same ground as a modem 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 Phillimore 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. Prom
this time forward he 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 esthetic 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 Mr. 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-
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.')
„ „ Sketch of Kilmartiu Sacrament.
„ „ Sketch of a Confessional.
„ „ Pbrtrait of Mrs. Hunter, Wil-
kie's sister.
„ „ Sketch of Blind Man's Buff.
{I'en and sepia.)
London. Nat. Gall. The Blind Fiddler.
„ „ The Tillage Festival
„ „ The Parish 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.
" ^'^^fZi'^"" ] '^^^ ^™''^° •^"■
„ „ „ Duncan Gray.
„ JVat. Fort. Gall. Portrait of himself.
„ Royal Academy. Boys diggjug for Eats.
Stafford House. Breakfast.
716
Wilkin
A BIOGRAPHICAL DICTIONARY OF
Wille
London. Apsley House. Chelsea Pensioners reading the
' 'Waterloo Gazette.'
„ Ch. F. liutk, Esq. The Postboy.
" "^'"■^ »/ ■^''™'"'- 1 Sketch for ' Reading of a Will.'
" ^'''■^lii'^'l^eJ-'sHarp.
„ „ „ Grandmamma's Cap (' Old Man
with a Girl's Cap ').
„ M. G. Millns, Esq. The Soldier's Grave.
„ Lt.-Col. Tremayne. Old Man with Girl's Cap.
(Smaller replica.)
„ £tickinffham Pal. The Penny "VVedding.
,, „ „ Blind Man's Buff.
Munich. -^^ ^£™«- 1 The Beading of a WiU.
Windsor Castle. The Queen's First Council.
Pitlessie Fair. (J. Boyd Kinnear, Esq.)
The Card Players. {John Waller, Esq.)
A School ; unfinished. (Late J. Graham, Esq.)
An Old Soldier. (A. B. Buxton Knightley.)
Alfred in the Neatherd's Cottage. ( W. J. Armitage,
Esq.)
The Letter of Introduction. {S. Brockletank, Esq.)
Discovery of the Body of Tippoo Sahib.
The Village Eecruit.
The Bride at her Toilet. (David Price, Esq.)
Napoleon and Pius VII.
The China Menders.
The Cottage Toilet.
The Cottar's Saturday Night.
The Cut Finger.
Distraining for Kent.
Entry of George IV. into Holyrood.
Grace before Meat.
Josephine and the Fortune-teller,
Not at Home.
Columbus at La Kabida.
The Confessional.
The Guerilla Council of War.
The Guerilla taking leave of his Confessor.
The Maid of Saragossa.
Pifferari playing hymns to the Madonna.
Portraits of Queen Adelaide, George IV., William IV.,
Queen Victoria, Duke and Duchess of Buccleuch,
Edward Irving, Sir William Knighton, Lord Kellie,
Daniel O'Connell, Duke of York, Duke of Sussex ;
and 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
born 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 eSects of an accident, May 28, 1814. Amongst
his best plates are :
Master Henry Hoare ; after Reynolds. 1789.
Lady Cookbum 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
efiorts 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 he died in 1852. His works,
consisting chiefly of portraits in pastel, appeared
at the Academy from 1831 to 1847.
716
WILKINS, Robert, an Englisn marine painter,
was bom shortly before 1750. The Society of Arts
awarded him a prize in 1*765, 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 Northcote's ' Loss of the Halsewell
East Indiaman,' is by him.
WILLAERTS, Abraham, the son of Adam
Willaerts, was bom at Utrecht. The date of his
birth is usually given as 1613, but this cannot be
correct if, as Kramm asserts, he 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 the 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 he painted
costumes and landscapes. He died at Utrecht in
1671. 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
Willaerts, is mentioned in the Utrecht records
as having painted in that city in 1659. In the
museum there several pictures may be seen, by
Schoorl, to which Isaac Willaerts added the
figures. A river landscape by him is in the
Rotterdam Museum.
WILLAERTS, Adam, (Willarts, Willees,)
was born at Antwerp in 1677, and distinguished
himself as a painter of river and canal pieces,
coast views, fish-markets, processions, and so
foi-th. 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, JoHANN Georg, an eminent engraver,
was born in the Bieberthal, near Konigsberg,
November 5, 1715. In his early youth he 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 earUer
works were mostly portraits, but later he also ap-
plied himself to historical subjects. He worked in
■Wille
PAINTERS AND ENGRAVERS.
Willes
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 property, 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, Vienna, Berlin, and Dresden. He was
engraver to the King of Prance, 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. MtLller, Bervic, Dunker, Chevillet,
the brqihers Guttenberg, 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 Stuart.
Prince Charles James Edward Stuart.
Prince Henry Benedick Stuart, Cardinal York.
Prospero, Cardinal Colonna ; afte? Pompeo Batoni.
Frederick II., King of Prussia ; after PesTie.
Marshal Saxe ; after Rigaud,.
WaJdemar de Loevendael, Marshal of France; after
La Tour.
Louis Philipeauz, Count of St. Florentin ; after Tocque.
J. B. Mas66 ; after the same.
Albert Frau90is Poisson, Marquis de Marigny ; after the
same.
C. E. Briseux, Architect.
Anastasia of Hesse-Homburg ; after Eoslin.
Marguerite Elisabeth de Largilliere ; after N. de Lar-
giliiere.
Elisabeth de Gony, wife of H. Bigaud ; after Eigaud.
Joseph Parrocel, Painter ; after the same.
Jean de Boullongne, Comptroller-general of Finance;
after the same.
The Death of Cleopatra ; after Netscher.
The Death of Mark Antony ; after Pompeo Satoni.
Les bons Amis ; after Ostade.
La MenagSre Hollandaise ; after G. Dou.
La Lisense ; after the same.
L'Instruction Paternelle ; after Terlorch.
La Gazettiere Hollandaise ; after the same.
La Tricoteuse ; after Mieris.
L'Observateur Distrait ; after the same.
La Cuisiuiere Hollandaise ; after Metsu.
Le Concert de Famille ; after Schalcken.
Les Musiciens Ambulants ; after Diet-rich.
Les Offres E^oiproques ; after the same.
La Petite BcoliJre ; after J, E. Schenau.
Le Mar&hal-des-Logis ; after F. A. Wille.
La Maitresse d'Bcole ; after the same.
Les Soins Maternels ; after the same.
Les Delices Matemelles ; after the same.
WILLE, PiEKEB Alexandee, painter and etcher,
the son of Johann 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 in the museums .of Angers, Bordeaux, and
Gambrai.
WILLEBORTS, Thomas, (or Wilebookts,)
sometimes called Bossohaebt, (or Bossaeet,) 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 churches there, and in
other cities of Flanders and Brabant. 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
the church of the Carmelites, at 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 Theodoras 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 Desert ' in the Vienna
Gallery.
WILLEMANS. See Willmann.
WILLEMIN, Nicolas Xaviee, engraver, was
born at Nancy-Euville (Meurthe) on the 5th
August, 1763. 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, CoENELis, an obscure painter, who
flourished at Haarlem in the 16th century, and
was the first master of Maerten v. Veen.
WILLEMS, Maecus, 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 II. 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, Eenst, 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 bom at Cork about the begin-
ning of the 19th century. He was 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.
717
William of Cologne
A BIOGRAPHICAL DIOTIONAEY OF
Williams
WILLIAM of COLOGNE. See KOln.
WILLIAM of FLORENCE, a monk of West-
minster Abbey, in the 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. SSBLDON, animal painter and
draughtsman, was born in the first half of the
present century. He contributed drawings of
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 Eowlandson, 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,
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 [a. v.}, Percy
[q. v.], and Gilbert [still alive] respectively) to avoid
confusion.
WILLIAMS, Henry John. See Boddington.
WILLIAMS, Hugh 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-CoIours. 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 Museum^
Loch Tummel. (Do.)
Bothwell Castle. (Do.)
Temple of Minerva Sunias, on Cape Colonna. (Scottish
National Gallery.)
Athens from the Bast. {Do.)
Plain of Marathon and distant View of Euboea. (fio.)
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
718
London at the Royal Academy, the British Insti-
tution, and the Society of British Artists. He died
at Glasgow in 1846. By him :
Edinburgh. Nat. 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 in 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,
said tohaveJbeen 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 by 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 which he superintended the en-
gravings of the exhibition of 1851. For the Art
IJnion 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
19th September, 1877.
WILLIAMS, Pbnry, 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 Academy, at the charges of
Sir John Guest, Mr. Crawshay, and some other
Welsh magnates who were interested by his talent.
He first 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 have studied under
Theodoras Freres. He has left a number of por-
traits, among them the following :
Charles I. ; after Van Dyck.
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 fVissing.
"William III., when Prince of Orange ; after the same.
Mary, Princess of Orange , after the same.
Henry Somerset, Duke of Beaufort ; after the same.
Williams
PAINTERS AND EN&BAVEES.
Willmaiin
William Eussell, Duke of Bedford ; after the same.
Geoige, Prince of Denmark ; after the same.
Anne, Princess of Denmark ; after the same.
Lord Cutts, when Mr. Outts ; after the same.
George Fitzroy, Duke of Northumberland; after the
same.
Charles Lennox, Duke of Richmond ; after the same.
James Ktzroy, Duke of Monmouth ; after the same.
James Butler, Duke of Ormond ; after the same.
Charles Somerset, Marquis of Worcester ; after the same.
Ann Scott, Duchess of Monmouth ; after the same.
Catharine Sedley, Countess of Dorchester; inscribed
Mrs. SeMey ; after the same.
The Countess of Derby.
Sir Charles Cotton ; after Biley.
Theophilns, Earl of Huntingdon ; after Kneller.
Barbara Villiers, Duchess of Cleveland ; after the same.
Sir George Eooke ; after Ddhl.
Sir John. Houblon, Alderman of London ; after Closter-
man.
John Campbell, Duke of Argyll ; after the same.
Sir Richard Blackmore, M.D. and Poet ; after the same.
Sir Edmund King, M.D. ; after Lely.
William, Earl of Portland ; after Simxm Dubois.
WILLIAMS, SamueI/, 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, 1863.
WILLIAMS, Solomon, an Irish portrait painter,
bom 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. On
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^D^Un | p^^^^^j^ ^j ^^^^^^ Valiancy.
„ „ „ Mr. Pleasant.
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. He also practised as a draughtsman,
and drew and etched plates for the following
publications :
'Picturesque Excursions in DeTonshire and Cornwall.'
1804.
' The 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, John, a respectable English
portrait painter, who practised his art between 1788
and 1818, He died at Liverpool in the latter year.
WILLIAMSON, Pbtek, an engraver who flour-
ished about the time of the Restoration. He lived
in London, and was apparently a publisher also.
We have by him some portraits, among them King
Charles 11., Queen Catharine of Braganza, and
Mildmay, Earl of Westmoreland. He also engraved
some small illustrations of Charles II.'s escape after
Worcester, dated 1667. He was employed for a
time by David Loggan.
WILLINGEN. See Van deb Willingen.
WILLIOT, Loms Augdste Adolphb, 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 1866, in which latter year he
died from injuries received through the falling in
of a ceiling.
WILLIS, Beowne, 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 :
' Survey of the Cathedral of Llandaff .' 1719.
' Survey of the Cathedral of St. Asaph.' 1720.
' Survey of the Cathedral of Bangor.'
' Survey of the Cathedral of St. Davids.'
' A Survey of the Cathedrals.' 1727-30.
He died in 1760.
WILLIS, Heney Beittan, painter, was bom 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 Royal Academy exhibitions, but the
greater number of his works appeared at the shows
of the Society 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, belongs to the Marchioness of Lome. He
died in 1884.
WILLISON, Geoegb, a Scotch portrait painter,
born in the first half of the 18th century. After
studying at Rome, he practised in London, ex-
hibiting at the Society of Artists and the Royal
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, Eduabd, 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 Bjiaus ; the ' Four
Seasons,' after Julius Marak ; ' Ancient Athens,'
after Hoffmann ; the Buildings of the Vienna Ex-
hibition, after Feldscharek. 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,
719
■Willmore
A BIOGRAPHICAIi DICTIONARY OF
Wilson
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 Eembrandt,
among them a ' St. Joseph.' There is a portrait by
Willmann 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, Dore, W. Collins,
and others, for the illustration of books. Towards
the 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 Germanious; after
Tamer.
Ancient Kome ; after the same.
Koyal Volunteer Review, Edinburgh ; after Sam. Btruifk.
On the Thames ; after David Cox.
The Lord of the Glen ; after Mc Whirter.
Mount Bdgcumbe ; after Copley FieldiTig.
The ' Kevenge ' ; after Sir Oswald Brierly,
Dutch Fishing Boats ; after E. W. Cooke.
Summer- Time ; after Rubens.
Farm at Laeken ; after the same.
Young Shrimpers ; after Collins.
Fisher-Boys, Coast oi 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 Hs time he came to London, and was employed
for three years in the studio of Charles Heath.
After that his independent career began. In
1843, the first year he exhibited with the Eoj'al
Academy, he was elected an associate engraver. He
worked after John Chalon, Leitch, Stanfield, Land-
seer, and Turner, being especially sucQpssful 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.
Penmaen Mawr ; 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 same.
The Fighting TOm&aire ; after the same.
The Golden Bough ; after the same.
Venice, Bellini's picture carried to the Eedentore ; after
the same.
Grossing 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. CaUcott.
WILLS, the Rev. James, painted about the
middle of the last century. 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.' He died in 1777.
720
WILMOT, Olive. See Seeees.
WILS, Jan, (or Wilts,) a Dutch landscape
painter, was bom 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
by a peculiar green in the vegetation, and less of
freedom in the handling than the real works of that
master. Wils also imitated Jan Both with consider-
able success. He died at Haarlem in 1669 (?).
There is a ' Rocky Landscape,' by Wils, with figures
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 Royal Academy. He
then went to Italy, and spent a considerable time
at Rome and Naples, where he laid the foundation
of an intimate Imowledge 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 he was one of the
modem 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 Trastees' School, where he trained several good
artists. During this period his works regularly
appeared at the Scottish exhibitions. But he pre-
ferred Italy, and returned thither with his wife and
family in 1826. There he spent the next 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 iiiis
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 :
li. )
ian's Villa. VOU.
tisland. J
Edinburgh. S. Nat. Gall. Tivoli.
„ „ Hadrian'f
„ „ Bnmtisland.
London, S. Kensington-! ^^ ^ ^gQ^
Museum, j I
„ „ Harlech Castle. 1807. VWater-
„ „ Sandhills, St. An- 1 colomrs.
drews. 1820.
„ „ Leith Roads. 1822. J
WILSON, Benjamin, portrait painter, was bom
at Leeds in 1721. He came to London when
young, and there worked as a clerk, but practised
art in his leisure. Dr. Berdmore, 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.
Wilson.
PAINTERS AND ENGRAVEES.
Wilson
He endeavoured to introduce more relief and
chiaroscuro into his pictures than had before been
•ommon, 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 1773 he was appointed master
painter to the Board of Ordnance, which post he
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 F.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 raff; in
imitation of Sembrandt.
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, James, 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. Abiugton ; after the same.
Elizabeth, Lady Arran ; after the same.
John Wilkes ; cfter 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
VOL. II. 3 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 Gallery.)
A Ferry Boat. (Do.)
Coast Scene. (South Kensington Museum.)
Landscape witfi Cattle. (Glasgow Gallery.)
WILSON, RiCHAED, 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 brancli 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
him 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 ofiered 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 of the 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,' which was in the 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 co^jtemporaries,
and partly also from his own unconciliatory 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 Royal Academy in 1768, he had still
long to struggle with poverty. But after the death
of Hayman in 1776, he 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 :
Dublin. JVat.
Edinburgh.
Landscape.
An Italian Landscape.
Biver scene, with figures.
721
Wilson
A BIOGRAPHICAL DICTIONARY OF
Winstanley
Glasgow. Gallery. Sketch for a landscape.
J, „ View near Tivoli.
„ „ Lake of Como.
,, „ Scene on an English river.
„ „ The Convent, twilight. *
„ „ Landscape, with figures.
London. Nat. Gallery. Euins of Maecenas' Villa, Tivoli.
jj „ Destruction of Niobe's Children.
',1 „ Landscape, with figures.
jj „ Lake scene, with ruin and
figures.
„ Ancient Roman Euin.
J, „ View in Italy, sometimes called
Hadrian's ViUa.
ji „ Lake Avernus, with the Bay of
Naples.
„ „ On the Eiver Wye.
„ „ Eooliy river scene.
„ Smith KensiTigton Xl&nisc&fe, with river and
Museum. J ruins.
„ „ Landscape, evening.
„ „ Italian Landscape, with figures
(Venus, Adonis, and Cupids)
by Cipriani. Signed R. W.
J, „ Landscape, with a bay and
ruined buildings.
„ ■ „ Italian river scene.
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 Joseph Farington, R.A., and William
Hodges, E.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 Newhurgh, after Dahl.
WILSON, William, engraved several land-
scapes, after Claude Lorrain, Poussin, and other
masters. They are in line, and neatly engraved.
WILSON, William Ohaelbs, engraver, was
born about 1750. He worked in mezzotint, and
was employed by Boydell on the 'Shakespeare
Gallery.' His plates were after Smirke, Westall,
West, and Pillement.
WILT. See Van dee Wilt.
WILTON, Joseph, an English engraver,flourished
about the year 1670. He engraved plates of,
various subjects in a style resembling that of'
Eomeyn de Hooghe.
WILTS. See WiLS.
WINCK, Cheistoph, painter and etcher, origin-
ally a shoemaker, was born at Eichstadt in 1738,
and studied art under his brother, Cheisostomds
WiNOK. 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 he became court painter to
the Elector of Bavaria, and in the following year
assisted in founding the 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 Prance, 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 21st of September,
1810.
WINDLER (or Windtee). See Wintee.
722
WIN6AND0RP, F., was a native of Germany,
and flourished about the year 1672. He engraved
several frontispieces and other plates for books.
WINGFIELD, Jambs 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.
WINGHE, (WiNGHEN,) Jekemias van, painter,
was born at Frankfort in 1587. He was the son
and pupil of Joost Winghe, and also studied under
Frans Badens 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 DUsseldorf. 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, JoDocTJS, Joost, or Joas, (Winghen,
or WiNGEN,) 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&y, Brussels), ' Samson
being shorn of his Locks,' 'Andromeda,' and
'Apelles painting Campaspe' (Vienna GaUery),
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, Theeesb aus dem, bom at Weissenfels
about 1784, was the daughter of a Saxon ofBcer,
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, Geoeg Feiedeich, 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, Li^viN DE, bom in Ghent in 1832,
studied under Fffix 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 the 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
himself 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-
Winstanley
PAINTERS AND ENGRAVERS.
Winterlialter
retto, Paolo Veronese, Bassano, Guido, Castig-
lione, Spagnoletto, C. Maratti, Rubens, Van Dyck,
Rembrandt, and others ; these were pubUshed as
' The Knowsley Gallery.' He also engraved a set of
prints from the paintings by Sir James Thomhill,
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, Hbnkt, 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, he 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 Kip'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 bom at Eamingham, 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 Db Wint.
WINTER, Abraham Hendeik, a Dutch painter,
the pupil of P. C. Wonder, was bom 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 Db Winter.
WINTER, JoHANN Geokg, was bom 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
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, (WiNDLBE, or
Windier,) 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 Imhoffi, after
Decker; and a few others.
WINTER, Joseph Geoeg, (or Winttee,) 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 Melchior
Hoos, Teniers, Peter van Laar, Berohem, Wouwer-
man and other masters.
WINTER, Rafael, (orWlNTTER,) painter, etcher,
and lithographer, son of Joseph Georg Winter, was
bom at Munich in 1784. His father dying while
he was but a chUd, his step-father, Mettenleiter,
trained him in art. He painted and etched animals.
He visited Italy, and started a lithographic estab-
3A2
lishment in Rome, and afterwards became director
of the Royal Lithographic Institute of Bavaria.
He died in 1852.
WINTEEGERST, 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 BibUcal scenes
and subjects of romantic genre. Both in teaching
and practice he strove to counteract the 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, Fhanz Xaver, painter and
lithographer, was born at Menzenschwand, near
St. Blasien, in the Black Forest, April 20, 1806.
After studying engraving for a time at Freiburg,
he went in 1823 to Munich, where he received some
instruction from Stieler in portrait painting, work-
ing meantime in Piloty's lithographic institute to
support himself during his novitiate. In 1828 he
moved to Carlsruhe, and a successful portrait of
the Grand Duke Leopold put him on the 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 1884
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 oeuvre, he affords a parallel
on a lower plane. Winterhalter'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 Mettemich, 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 Mettemich 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 bom at
Vohrenbach in the Black Forest in 1743, and
worked for a time at Olmiitz with his uncle, Joseph
723
Wintour
A BIOGRAPHICAL DICTIONARY OF
Wittel
Winterhalter, a sculptor. He afterwards studied
under Stem at Briinn, and under Maulpertsch. He
worked in fresco, oil, and miniature, but his chief
works were altar-pieces and other pictures for
churches. He also excelled in architectural studies.
He died at Znaim, in Moravia, in 1807.
WINTOUR, John Ckawfokd, landscape painter,
born in 1825, was an Associate of the Royal Scottish
Academy. He died at Edinburgh, July 29, 1882.
WIRTZ, JOHANN, (or WlEZ,) designer and en-
graver, was bom 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 he 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 WirziiRomse 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 aiTOW, the other a woman with two
children. He died at Zurich in 1710.
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 employed,
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 WUliam
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 Wissingus inter pictores sui saeculi celeber-
rimus, nulli secundtbs, artis sum non exiguum
decus et omamentnm, immodicis brevis est cetas.
Works :
Hampton Court. Mrs. Enott.
„ Duchess of Somerset (?).
„ Queen Mary II.
Mrs. Lawson.
Lord Cutts.
Duke of Monmouth.
„ „ Prince George of Denmark.
„ „ Mary of Modena.
„ „ Queen Mary II.
WISZANIB. 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 Comelis 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 Ruhens. 1638.
The Nativity. Eetouched and improved by Bolswert.
(Do.)
The Adoration of the Magi. (Do)
TheBlevationof the Cross, 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.)
724
London. Nat. Port. Gall.
Holy Family, with St. Elisabeth and St. John. (Do)
St. Ildefonso. (Do)
St. Cecilia. Eetouched and improved by Bolswert. (Do)
WITHERINGTON, William Frbdeeiok, land-
scape and figure painter, was bom 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
the British Institution. His earlier works were
landscapes with figures, but as time went on the
figures encroached upon the landscape, until his
subjects became almost purely genre. Weak health
led him to desert London for the country, and
thence, in 1835, he sent to the Academy a 'Hop
Garden,' which now well represents him at South
Kensington. The pictures by Witherington, 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, 1865. Works :
London. S. Kens. Mus. The Hop Garden.
Nottingham. Midland } The Cover Side (landscape by
Museum. J Lee).
Oldham. Gallery. The Hop Garland.
Warrington. „ The Stepping Stones.
WITHOOS, Feans, was the youngest son and
scholar of Mathias 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 1706.
WIT'HOOS, Johannes, eldest son of Mathias
Withoos, was bom 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 4ess 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 Matthads,) was bom
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-
suing 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, Pietek, the second son 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.
WITTE. See De Witte.
WITTEL, Kaspar van, (usually called Vakvi-
telli, or Vanvitel, also Degli Ocohiali, 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
Wittig
PAINTERS AND ENGRAVERS.
Wogan
Naples he obtained the patronage of the Spanish
Re{j;eiit, but after the revolution there he departed
to Rome. He has painted views in the latter city,
as well as in other cities and seaports of Italy,
with a precision approaching to those of Venice by
Canaletto. He died at Rome in 1736.
WITTIGr, Babtolome, was born at Oels, in
Silesia, about 1610. He excelled in painting
festivals, concerts, and night pieces, and died at
Nuremberg in 1684.
WITZANI, JoHANN Feiedrich, (or Wiszanib,)
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 Meissen 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.
WITZANI, Kael AnonsTUS, landscape painter
and etcher, elder brother of Johann Friedrich Wit-
zani, was born at Dresden in 1769. He was a
pupil of Oanale, but interrupted his artistic course
by spending ten years in the artillery. He etched
' The Annunciation to the Shepherds ' after Wou-
werman, a view of a town after Van der Neer, and
a landscape with cattle, after Karel Dujardin. He
shot himseH in 1816.
WIVELL, Abkaham, portrait painter, was bom
in Marylebone on the 9th July, 1786. After some
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 ■^as only relieved from distress by
an opportune legacy. He next took to inventing
fire-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, Maequard, 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 1825. His father, Tiberius
L WooHEE, (bom at Mimmenhausen, 1728, died at
Reutli, 1799,) was a portrait painter and etcher.
WOEIRIOT, PlEEEB, (WOEEIOT, VOEIEIOT, &C.,)
who in 1662 assumed by permission the name of
De Bouzey, was an engraver and sculptor, and
was bom at Bouzey, near Rheims, in 1631 or 1632.
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 his 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 jp , 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 Oonstantine and Maxentius ; after
Raphael.
The Besurrection ; after Giorgio Ghisi.
WOENSAM, Anton, (called Anton van Worms,)
was a painter and wood engraver, who flourished in
the 16th century. He was a native of Worms, but
worked chiefly at Cologne. His works show him
to have been a close imitator of Albrecht Dtirer. He
is first mentioned in records, in 1528, and is spoken
of as dead in 1561. His pictures are rare, but
there are examples in several private collections in
Cologne, besides the following in public places :
a 'Madonna,' at Darmstadt; a ' Madonna enthroned
between Saints, in a Landscape,' in the Presbytery
of the Church of St. Severin, Cologne ; and a
' Christ on the Cross.' ' The Arrest of Christ,' in
the Wallraf Museum at Cologne, dated 1520, is
ascribed to him. Between 1528 and 1538 he
executed a large number of cuts for illustrated
Bibles and other works. It is suspected that
he also engraved on copper, but his monogram
so closely resembles that of a certain Saxon en-
graver that this point cannot be regarded as
settled. BruUiot, however, asserts him to be
the author of tyfo copper plates : one represents
a naked man sitting in a cavern and Death stand-
ing near him (dated 1522) ; the other represents St.
Andrew holding his cross in one hand and a book
in the other. Florent le Comte calls him ' Vuor-
mace,' and one of his cuts has the inscription,
' Coloniae, per Anthonium de Vormacia Piotorem.'
His prints are usually marked with an A and a W
intersected, thus ja!l ' The best of his woodcuts
Paradise (for the Cologne Bible of 1529).
The Holy Family (for the work of the Carthusian
Dionysins).
Christ on the Cross, with the Virgin, St. John, and the
Magdalene.
The Twelve Apostles.
St. Jerome (for the Cologne Bible of 1530).
Charles Y. and the Sultan (a satirical print).
View of Cologne in nine plates — a Panorama of the
city and its people in 1531.
WOENSEL, Pbteonblla, 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.
WOGAN, Thomas, an Irish miniature painter, was
bom about 1740. He studied at Dublin, and prac-
tised both there and in London, exhibiting at the
Royal Academy in 1776-78. He died in Dublin
in 1780.
725
Wohlgemuth.
A BIOGRAPHICAL DICTIONARY OF
Wolfgang
WOHLGEMUTH. See Wolsemut.
WOLF, Oaspae, was bom 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 Mannheim 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 Durer, who drew his
portrait in his sketch-book.
WOLF, JoHANN Andreas, was bom 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
Schdnfeld and Karl Loth, but afterwards improved
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 Christ '
at Kremsmunster, his own portrait in the Old
Pinakothek at Munich, and other examples at
Augsburg, Sohleissheim, &o. He died at Munich
in 1716.
WOLF, LuiSB, was born at Leipsic in 1798, and
studied successively under Langer, Cornelius, Over-
beck, and Sohnorr. She painted religious pictures
in imitation of mediaeval 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, Uleich Ludwig, 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
soon abandoned -painting. He illustrated Shake-
speare, Schiller, and Ossian ; whilst his portrait of
Frederick II. upon his favourite horse, Conde, 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 the Academy o£ Berlin, where he died in 1832.
WOLFAERTS, Artus, (or Wolffoedt,) 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
I 164L
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.
WOLPENSBERGER, Johann Jakob, was born
at Rumlikon, in the canton of Zurich, in 1797, and
; commenced his artistic career by colouring prints for
726
the establishment of H. Piissli. 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, Benjamin, 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 16, 1825.
WOLFGANG, Andreas MatthIds, 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, perhaps, are those
of the Margrave of Anspach, of Prince Eugenfe,
and of the Emperor Charles VI. He also engraved
some battle-pieces and genre subjects.
WOLFGANG, Gboeg Andeeas, engraver and
goldsmith, was bom at Chemnitz, Saxony, in 1631.
He at first engraved sword-blades and other
weapons, but afterwards learnt to work on copper
from Mattheus Kiissel. He engraved historical
subjects and portraits after Schonfeldt, Wer-
ner, Zierl, and others, in line. He also scraped
some mezzotints. He died at Augsburg in 1716.
Among others, we have the following prints by
him :
LINE ENSEAVINGS.
Georg- Friedricli, Margrave of Brandenburg; after C,
Zierl,
Peter Muller, Jurisconsult.
A Sacrifice to Diana ; after J. H. Schonfeldt.
Saul consulting the Shade of Samuel ; after J, Werner.
A set of ten subjects from the Old and New Testament;
after Umiach.
MEZZOTINTS.
Johannes Koeb, a medallion.
A young Warrior in armour, with flowing hair.
An old Man seated at a table, an old Woman behind
bis 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 bom at
Augsburg in 1703. He was a portrait painter, and
worked for some time in England, but afterwards
became court painter at Gotha. .
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 bom
at Augsburg in 1664, and was his father's pupil.
"Wolfiroet
PAINTERS AND ENGRAVERS.
Wolgemut
He was carried to Algiers with his brother, Andreas
Matthaus, 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 Pran-
cofurtansB,' published in 1707. His best plate is
a ' Crucifix,' after Le Brun. The following are
among his portraits :
Friedrioh 'Wilhelni, Elector of Brandenburg ; from the
equestrian statue by Jacohi. %
August Wilhelm, Duke of Brunswick and Lunenburg ;
c^ter Franck.
Jonann Melchior Dinglinger ; after A. Pesne.
■WOLFVOETjViCTOK, (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 1644 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 Rubens's ' Descent from the Cross ' in
the cathedral of Antwerp. In the Dresden Gallery
there is a ' Head of Medusa,' signed ' Victor Wolf-'
voet.' He died in his native city in 1652.
WOLGEMUT, Michael, (or Wohlgemuth,) 'the
moat famous master of the early school of Pran-
conia, was bom at Nuremberg in 1434. He is first
mentioned in the town records in 1473. In 1472
he married the widow of a brother painter, one
Hans PleydenwurfE, and his step-son, Wilhelm,
assisted him for a time in his atelier. He had
many pupils, and it is believed that not only was
the painting of large ^Itarpieces carried on in his
workshop, but also the carving of their adjuncts,
and of church furniture generally. His earliest
works are four scenes from the 'Passion ' (1465), now
in the Munich Pinakothek. A later work, painted
in 1479, is a large altar-piece in the Marienkirche
at Zwickau, which shows a marked improvement
upon his earlier productions. In the Vienna Gallery
there is a 'St. Jerome' painted by him in 1511.
Scenes from the saint's history are depicted in the
background ; the donors, a man and woman, kneel
at his side. Wolgemut was an excellent portrait
painter. Dr. Woermann ascribes to him the por-
traits of a man and his wife, in the ' Amalienstift,'
at Dessau ; also a small half-length of Ursula
Tucher, in the Cassel Gallery, and three members
of the same stock in the Weimar Museum.
Wolgemut died at Nuremberg, November 30, 1519.
Three years before his death Albrecht Diirer painted
his portrait, which is in the Munich Gallery. _ It
bears an inscription in old German to the following
effect : " This has Albrecht Dtirer portrayed after
his master Michael Wolgemut, in the year 1516.
He was then eighty-two years old, and lived until
the year 1619, when he died on Saint Andrew's
Day (30 November), early, before the sun rose.'
Diirer's drawing for this portrait is in the Albertina,
Vienna. Dr. Thausing attaches the greatest im-
portance to the influence of Wolgemut over Diirer,
and has done much to restore the general prestige
of the older master. Additional works :
Augsburg. Gallery. The Eesurreotion.
„ „ The Crucifixion.
Darmstadt. Gallery. The wings of an Altar-piece.
Iiiverpool. Institute. Christ before Pilate.
Liverpool. Institute. (?) Deposition from the Cross.
(Wings of an altar-piece, no.
1049 in the National Gallery,
which was formerly ascribed
to Aldegrever.)
Munich. , Fiimlcothek. The Marriage of St. Catharine.
,1 „ The Twelve Apostles.
„ „ A Crucifixion.
Nuremberg. ifon'i«.Br«p. St. Bridget.
„ ■ „ Saints.
„ „ A Crucifixion.
The assertion that Wolgemut was himself an
engraver is still open to doubt, but the balance of
authority now inclines strongly to the opinion which
wonld make him the author of the much-contested
prints signed with the initial W. Down to the
commencement of the 19th century, Wolgemut
had been generally identified with the ' Master W.'
Bartsch then found, in the Albertina, an impression
of the ' Man of Sorrows, between Mary and John,'
also engraved by Schongauer, on which an old
written inscription was legible, to the effect that
"this engraver was named Wenzel, and was a
goldsmith." This, combined with the inscription
on a copy of Schongauer's ' Death of Mary,' namely,
Wenceslaus de Olomucz ibidem, led to Wenzel's
identification with the Master W, who was assumed
to have copied Schongauer in his youth and Dtirer
in his old age. Thausing, however, reverts to the
old belief, and his opinion now tends to prevail.
The chief plates signed W. and ascribable to
Wolgemut are as follows :
The Angelic Salutation, {Two versions.)
The Nativity. {Copy from Schtrngauer.)
The Last Supper.
Christ on the Mount of Olives. {Copy from Schonyaaer.')
Pilate washing his hands. {Do.)
Christ on the Cross. {After Schongauer.)
The Man of Sorrows. {Free copy from Schongauer.)
Virgin and Child with a Paroquet. {Reversed copy from
Schongauer. )
The Martyrdom of St. Andrew.
The Martyrdom of St. Bartholomew. {After Meister
Stephan. ?)
St. George and the Dragon. {Copy from Schongauer^
St. Sebastian. {Copy in reverse from Schongauer.)
St. Sebastian. (-Do.)
Martyrdom of St. Sebastian.
St. Judas Thaddeus. {Copy from Schongauer.)
St. Thomas. {Do.)
St. Barbara.
St. Catharine. {Reversed copy from Schongauer.)
The Two Lovers, walking.
The Abduction of Amymone.
The Hostess and the Cook.
The Two Lovers, seated.
The Subjugation of Man by "Woman.
A Savage with Shields. {Reversed copy from Schongauer^
An Angel with a Shield. (Do.)
A female Savage with Child and Shield. {Do)
Seated Female with a Shield. {Do.)
' Eoma Caput Mundi.' (A famous satirical print, of
which three impressions are known, one at Dresden, one
at Frankfort, and one at the British Museum.)
Whatever conclusion may be come to on the
subject of these W plates, there is no doubt that
Wolgemut was a prolific producer of designs for
the wood-cutter. In 1491 Anton Koberger brought
out the ' Sohatzkammer der wahren Reiohthiiiner
Ses Heils und der ewigen Seligkeit,"' with his de-
. signs. This was followed by Schedel's ' History of
the World,' full of wood-cuts, as to which a note
at the end informs us that they were engraved
under the supervision of Wolgemut and Wilhelm
Pleydenwurff. See Thausing, ' Life of Diirer,' 1882.
(Ener. Translation, Caps. IV. and VIII.) w, A.
727
Wollaston
WOLLASTON, J., was born in London about
the year 1672, and painted portraits, which had
the reputation of being good likenesses. Besides
painting, he performed on the violin and flute, and
played at the concerts of Thomas Britton, the
Musical Small-Coal 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.
Wollaston died in the Charterhouse at an advanced
age.
WOLLASTON, John, an English portrait painter
of the 18th century, who painted a portrait of
Whitefleld 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 mother.
WOLSTBNHOLME, D. ) Two English
WOLSTBNHOLME, D. June, j animal paint-
ers of the 19th century. The father practised at
Cheshunt, and afterwards at Tumford, exhibiting
at the Eoyal Academy, the British Institution, and
the Society of British Artists from 1803 to 1859.
The son was born about 1800, and practised in
London, exhibiting at the Eoyal 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 her 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 Woltees
(born at Zwolle in 1682, died 1755 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 own country
led her to refuse bis offer. An invitation from
Frederick William, King of Prussia, met with
the same answer, and she died at Amsterdam
in 1741.
WOLUWE, Jan van, painter and illuminator,
was one of the eariiest artists of the Flemish school,
and flourished 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 have survived.
WONDER, PiETER Cristoefel, was born at
Utrecht in 1777. He studied at the Dusseldorf
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 that city, July 12, 1852. The Eijks Museum
has a picture by him, and his ' Herring Seller' is
in the Rotterdam Museum.
WOOD, John, an English engraver, flourished
in London 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 the following :
728
A BIOGRAPHICAL DICTIONARY OP
Woodforde
Two Landscapes ; after Gaspard Poassin.
Two Italian Landscapes ; after Claude Lorrain.
A Fire-light ; after Eemirandt.
Lake Nemi ; after Bichard Wilson.
A View of London from Greenwich ; after Tillemans.
WOOD, John, painter, was bom in London on
the 29th June, 1801. He was the son of a drawing
master, showed an early inclination for art himself,
and went successively to Sass's Academy and the
schools of the Eoyal Academy. 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
his ' Elizabeth in the Tower,' and a premium of
£1000, in open competition, for a ' Baptism of
Christ.' But his later work did not fulfil the ex-
pectations thus excited, and he died obscure on
the 19th April, 1870.
WOOD, John George, an English water-colour
painter and draughtsman, was born in the latter part
of the 18th 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.
' The Principal Eivers of Wales.' 1813.
' The Principles . . of sketching . . from Nature.' 1814.
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, Thomas, was born in London, April 24,
1800. He was educated at the Eoyal Academy,
and afterwards painted landscape in water-colour.
Between 1828 and 1863 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 was buried in York.
WOOD, William, an English miniature painter,
was bom in 1768. He practised with success in
London, and exhibited 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 essay 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 \o 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 1660. , He was a pupil
of Isaac Fuller, and in his rare fits of industry
painted buildings, antiquities, and views. He died
in 1724.
WOODFOEDE, Samuel, an English subject and
landscape painter, was born at Castle Gary in 1764.
Early showing a talent for art, he was enabled by
I the help of Sir R. C. Hoare to enter the schools
Woodhouse
PAINTERS AND ENGRAVERS.
Woollett
of the Royal Academy at the age of eighteen.
Three years later, the same patron sent him to
Italy, where he studied until 1791. Returning to
England, he worked for Boydell's Shakespeare
Galleryj and painted fancy subjects and portraits.
His 'Forest scene from Titus Andronicus,' painted
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. S. Academy. Dorinda wounded by Sylvia.
„ >S. Ken,. Museum. Pan teaching Apollo. 1790.
( Water-cohurs.)
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, in the South Kensington Museum.
WOODING, P , an Enghsh line engraver,
practised towards the close of the 18th century,
and was the master of William Bromley.
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. Eiley.
Cihildren at Play ; aft^ N. Poassin.
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. Meadows, 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
he relinquished the graver for water-colour and
miniature painting. 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-
thom.' 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 Excursions in England.' 1798.
' Le Bran travestied.' 1800.
' The Caricature Magazine.' 1807.
' Oomic 'Works in Prose and Poetry.' 1808.
WOODWARD, Thomas, animal painter, was
bom 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 year of his death he
was seldom absent from the Academy. He died
at Worcester in 1852. Works :
Turks with their Chargers. 1823.
The Chariot Race. 1829.
Horse pursued by 'Wolves. 1831.
Detachment of Cromwellian Cavalry surprised in »
Pass. 1841. A Tempting Present.
■Welsh Shepherdess and her Dogs. 1845.
Mazeppa. 1851. Battle of Worcester.
WOOLLETT, William, an eminent English en-
graver, was bom at Maidstone, August 15,1735. His
father, by descent a Dutchman, was a flax dresser,
but a lottery ticket in which he had a share haidng
drawn a prize of £5000, he 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 effects of
an injury received some years before while playing
at Dutch Pins. He was buried in Old St. Pancras
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
George III. ; after Allan Bamsay.
Peter Paul Bubens ; after Van byck.
The Merry Villagers ; after Thomas Jones.
.^neas and Dido ; after Jones and Mortimer.
A Landscape, with Buildings ; after John Smith ; the
' Second Premium ' print.
Another Landscape; after George Smith; the 'First
Premium ' print.
The Hay-makers ; after the same.
The Apple-gatherers ; after the same.
729
Woolnotli
A BIOGRAPHICAL DICTIONABY OF
Worsey
The Rural Cot ; after the same.
The Spanish Pointer ; after iStuiis.
A View of Snowdon ; e^ter Wilson.
Celadon and Amelia ; after the same.
Ceyx and Alcyone ; after the same.
Cicero at his Vaia ; after the same.
Solitude ; after the same : by WoolUtt and Ellis.
Niobe ; after the same.
Phaeton ; after the same.
Apollo and the Seasons ; after Wilson and Mortimer.
Meleager and Atalanta ; after the same.
The ' Jocund Peasants ' and ' Merry Cottagers ' ; after C.
Dusart ; a pair.
The Fishery ; after Wright.
The Boar-himt ; after Pillement.
Diana and Actseon ; after Fil. Lauri.
A pair, Morning and Evening ; after Swanevelt.
Landscape with a Windmill ; after Solomon Suysdael.
A Landscape, with figures and a "Waterfall ; after Ann.
Carracci.
Macbeth and the Witches ; after Zuccarelli.
The Enchanted Castle ; after Claude : by Woollett and
Vivares.
The Temple of Apollo ; after the same.
Boman Edifices in ruins ; after the same.
Jacob and Laban, or, ' Le Grand Pont ' ; after the same.
The Death of General Wolfe ; after West.
The Battle of La Hogue ; after the same.
Charles II. 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
Eaisonn6 of the engraved works of William Wool-
lett ' (London, 1885), by Louis Fagan, of the British
Museum.
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 ; after Van Dyck.
Ecce Homo ; after Guide (?).
WOOTTON, John, an eminent English painter
of landscapes and animals, was born towards the
end of the 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 the 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 London in 1765.
His works are numerous in English country houses.
WOELIDGE, Thomas, an English portrait
painter and etcher, was born in 1700. He 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
730
of Eembrandt. His prints are very numerous,
but chiefly consist of Eembrandtesque heads,
and portraits. In 1768, two years after his
death, a series of one hundred and eighty-two en-
gravings of antique gems by him was published.
A complete set of first 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 28, 1766, having ex-
hibited portraits with the Free Society in that same
year.
WOEMS, Anton von. See Woensam.
WOENUM, Ealph Nicholson, was bom at
Thornton, near Durham, in r812. 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, Eome, 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, his
best known works with the pen are 'Epochs of
Painting,' and a 'Life of Holbein.' He died in
London on the 15th of December, 1877.
WOEOBIEFP, Maxime Nikifob6witsch, a Ens-
sian painter, was bom in 1787, and was a pupil
of Semen P.Schtschedrin and Alexejeff, 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 1818. {Hermitage.)
View of Constantinople.
The Subterranean Chapel at Bethlehem. {Sermitage.)
Interior of the Church of Golgotha. (Hermitage.) 1824.
Gateway of the Church of the Kedeemer at Jerusalem.
View from the Sabine Mountains.
WOESDALE, 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, &c., 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 the
Board of Ordnance, and died in 1779.
WOESEY, Thomas, an English flower painter,
born in 1829. In his early years he worked at
Birmingham as a painter on papier-mach^. 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
Eoyal Birmingham Society of Artists.
Worst
PAINTfiRS AND ENGRAVERS.
Wouwerman.
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 Henet, an English
line engraver, was bom 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, Cheistian Albeecht, 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.
WOUTBRS, Feans, 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 church 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 chief 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. Pour land-
scapes and some other subjects were etched by
Frans Wouters. Additional works :
Copenhagen. Gallery. Venus and Adonis.
Frankfort. Staedel Inst. A Conflagration by Moonlight
(with the forged signature of
A. Van der Neer).
Vienna. Galley. The Huntress Diana. 1630.
WOUTERS, GoMAE, 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 G. Wouters, Cavalier, del. et
SGUl'Om
WOUTERS, Jakob, called also Vosmeee and
VosMABR, 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 Vosmabe, perhaps his
son, painted landscapes, views, &c., and flourished
at Delft in 1654. He more than once painted the
disastrous explosion of that year. An example in
the Delft Town-hall is signed Daniel Vosmaer.
WOUTERSZ, JoEANNES, an obscure Dutch
painter, bom 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 bureau of. a
Jurisconsult. The half-obliterated inscription reads:
johan : i : WOVT : an : 15. .
WOUTIERS, (or WOUTERS,) Michblina, or
Maqdalena, a native of Mons 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 Gantelmo, 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-
man. He was admitted into the Guild of St. Luke
in 1655. He painted so ranch in the style of
Wijnants that his pictures are often ascribed to
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 1765. 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, Philips, was born at Haarlem,
where he was baptized on May 24, 1614. His
father, Paul Joosten Wouwerman, was a -native
of Alkmaar and a mediocre painter. He married
three times, and had three sons by the third wife,
all of whom became painters. Philips 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 1648 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
difBc'ulties, 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 500, or
about one for every three weeks during his pro-
731
Wouwerman
A BIOGRAPHICAL DICTIONARY OP
Wright
Berlin.
Brussels.
Dresden.
Museum.
Gallery,
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 anatomy. _ As
a.natural eolourist, too, and as a technical painter
he has had few equals. Among his pupils were
his brother Pieter, Koort Witholt, Nicolaas Picke,
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 White Horse.
„ „ The Drinking Place.
„ „ The Oamp.
{A7id nine more.)
Museum. The Eiding School.
„ A Hunting Meet.
„ Horses before a Smithy.
(And ihree more.)
Episode of the Chase.
Armed Peasants fighting with
Cavalry (known as 'Le Pil-
lage des Eeiters ').
CavSry Skirmish, near a Burn-
ing Windmill.
The Stable of an Inn, with
Cavaliers about to mount and
start.
' La Cascade ' : a Waterfall and
a Waggon with five Horses.
The Farrier's Shop: 'Lagrotte
du Mar^chal.'
Camp near a River.
(ATid ahout sixty others.)
The Market Cart.
Landscape, with Horsemen.
Halt of Travellers.
Hawking.
Horse-shoeing.
I The Hay Wain.
The Sutler's Booth {very fine).
A Hunting Party.
A Cavalry Skirmish.
A Fair in the Outskirts of a
Town (veryjine).
The Hawking Party.
The Camp Farrier.
Travellers robbed by Brigands.
Halt of Sportsmen.
Selling Fish at Scheveningen.
„ Halt of Travellers.
„ Three Cavaliers at a Wayside
Inn.
„ Two Horsemen near a Foud-
t^n, and a Servant-maid.
„ Peasants in the Fields.
„ A Courtyard with a Farrier.
„ Halt of a Hunting Party.
„ The Eetum from Hawking.
Wat. Gallery. Interior of a Stable {very fine).
„ On the Sea-shore (do. ).
„ Halt of Officers (known as ' La
Belle Laitiere ' ; very fine).
„ Gathering Faggots.
„ Landscape with four-horse
Chariot.
„ A Battle (very fine).
The Stag Hunt.
The Stag Hunt.
Interior of a Stable.
(And fourteen others.)
The ' Bceuf Gras ' in Holland.
Departure of a Hawking Party.
The Stag Hunt.
The Eiding School.
Interior of a Stable.
Cavalry Combat.
Eiding School in the open air.
Travelling Merchants.
Halt of Travellers.
Travellers on the Sea-shore.
Glasgow.
London.
Gallery.
SucTcingha
Palace.
Dulwich Gall.
Petersburg. Hermitage.
Munich.
Paris.
Gallery.
Louvre.
Petersburg. Hermitaye.
Berlin. Museum.
Glasgow. Gallery.
London. DvZwich Gall.
732
Soldiers and Feasants fighting,
burning mills in the distance.
„ „ Departure for the Chase.
„ „ The Stag Hunt (one of the
chief pictures of the master).
„ „ Another Stag Hunt.
„ „ Landscape, with Woman cross-
ing a Ford.
(And forty more.)
Vienna. Gallery. An Attack of Bobbers.
„ „ Eiding School and Watering
Place for Horses.
„ „ Bobbers attacking Travellers.
„ „ Halt of Huntsmen.
„ „ Landscape. ■^ ji_
WOUWERMAN, Pibtee, was the son of Paul
Joosten, and the younger brother of Philips Wou-
werman. He was received into the Guild of St.
Luke at Haarlem in 1646. He married in 1654,
and had children. He must have visited Prance,
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 Philips.
Amsterdam. jB. Museum. Assault on Koevorden. 1672.
A Hunting Party.
The Siege of a Town.
A Halt, after Bain.
A Sandbank and Travellers.
„ „ Seashore, with Figures.
Paris. Louvre. View of the Gate and Tower of
Nesle, Paris.
WREN, Sir Christopher, was bom 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 thought 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 bom 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
VIII., 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 Goyen.
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 1820 he put an end to his 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 attempts. Hemade the acquaintance,
"Wright
PAINTERS AND ENGRAVERS.
Wright
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
he 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 shows. He designed
a great many book-illustrations. He died on the
13th May, 1866, in his ninety-third year. Three of
his water-colour drawings are in the South Ken-
sington Museum.
WRIGHT, John William, an English subject
painter in water-colours, born in London in 1802. He
was the son of John Wright the miniature painter,
and early received instruction from T. Phillips, E.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 oooasionally 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 family in straitened
circumstances. 'Two of his water-colour drawings
are in the South Kensington Museum.
WRIGHT, Joseph, distinguished by the sobri-
quet ' Wright of Derby,' was born at that town in
1734. He came in 1751 to London, where he
became a scholar first of Thomas Hudson, and
afterwards of Mortimer. On leaving the 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 1776. He then first settled
at Bath, but returned to Derby in 1777. In the
following year he exhibited fire and moonlight
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 which 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,' 'The Air-Pump,' and 'The Gladi-
ator ' ; others in line, among them ' The 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
WooUett. Other subject pictures by him are,
'The .Destruction of the Floating Batteries at
Gibraltar,' ' Edwin at the Tomb of his Ancestor,'
' Belshazzar's Feast,' ' Hero and Leander,' and ' The
Lady in Milton's "Comus."' His 'Eruption of
Vesuvius,' and ' DUeswater,' are both excellent in
their way. Other works :
London. National Gall. An experiment with the air-
Nat. Port. Gall.
pump.
Portrait of Sir Sichard Ark-
wright.
Portrait of Erasmus Darwin.
„ himself.
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 member
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
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 Eome in 1686, and published an account of the
negotiations with the Pope. On his return, he
found his reputation eclipsed by that of Kneller.
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 he called himself 'Michael
Ritus ' (y. v.), and is so registered at the Roman
Academy. He oooasionally described himself as
' Sootus ' or ' Anglus,' and on the back of one por-
trait as 'Jos. mick Wrilps Londonensis Pictor
Caroli Eegis.' There are by him :
Hampton Court. John Laoy, the aotor. 1675.
London. Nat. For. Gall. Thomas Hobbes.
„ Garrick Club. John Lacy.
„ Lincoln's Inn. Sir Matthew Hale.
Full-length of Prince Eupert, in armour.
His nephew, of the same name, was also a por-
trait painter. He studied in Rome and practised
in Ireland.
WRIGHT, RiCHAKD, 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 fitfty guineas for a sea-
piece from which WooUett 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 Vemet's knowledge. At Hampton Court there
is a picture by Wright of 'The Royal 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 stayed 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
733
Wright
A BIOGRAPHICAL DICTIONARY OP
Wygmore
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
portrait by him in the Bodleian shows that his
abilities were respectable.
WTENBROECK. See Uijtenbeouck.
WTTBWABL. See Uitewaal.
WUGHTER8, Abraham, (or Wugtees,) was
born about 1610-15, in Holland, and in 1638 ac-
companied his brother-in-law, Karel vanMander,
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 him
of Prince Waldemar Christian and the minister
Gersdorf (?), and there is a 'Last Supper' by
him 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 Vuez.
WUGTERS. • See Wttohtees.
WULFHAGEN, Fbanz, born at Bremen in 1620,
was an obscure scholar of Rembrandt, and painted
after the manner of his master. He died in 1678.
WULPRAAT, Maeqabetha, 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 ' Semiramis,' and two pictures with
wood nymphs, by her, are in existence. She died
in 1738.
WULPRAAT, Mathijs, (or Wulfeabt,) 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 bambocciate.
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.
WtJRBS, Kael, 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.
WUHMSER, NlooLAUS, a native of Strasburg,
was one of four painters who worked in the 14th
century for the Emperor Charles IV. at Karlstein,
near Prague. His collaborators were Theodoric
of Prague, Procop Kunczo, and Tommaso da
Modena. Wurmser was a favourite with the
Emperor, and is mentioned in ancient records of
1359 and 1360 as enjoying certain privileges from
him. Of the works executed at Karlstein, those
ascribed to Wurmser are the large frescoes in the
soffits of the window arches of the chapel. They
consist partly of scenes from Scripture, partly of
single figures. These, though much damaged by
■■■" 734
time and neglect, are remarkable for a certain
impressive dignity, in spite of their queer drawing
and deficient sense of beauty. In the Vienna
Gallery there is a 'Crucifixion,' originally painted
for the high altar of the castle chapel, at Karlstein.
It has been ascribed by Van Mechel and others
after him to Wurmser, but has been also given
to Theodoric of Prague. The altar-piece of 1375,
in the Gallery of the Estates of Bohemia, at Prague,
is generally given to Theodoric, but some writers
ascribe it to Wurmser.
WtJRSCH, JoHANN Melchioe, was bom 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 Hbinbich, 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 then returned
to Zurich. He painted nature under tranquil
aspects, being especially successful with foliage
and water. He died in 1821.
WDST, Kael 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,MlCHEL, (or Wutkt,) landscape painter,
was probably born at Tuln in 1739 (others say at
Krems or Stein in 1738). He studied at Vienna
under Mej^ens, 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, Heney, 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, successively. In 1826 he came
back to London, where 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 SufEolk Street, between 1817 and 1838.
There are by him : —
Chester. The Castle. Portrait of T. Harrison, Archi-
tect.
Glasgow. Gallery. The Philosopher. 1832.
Manchester. „ 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, Domit. VIII.) in the 14th century, had a
series of portraits of English kings, down to
Edward XL, painted for his great dining hall, and
■Wyke
PAINTERS AND ENGRAVERS.
Wyttenbach
is said to have been eminent as a limner and em-
broiderer himself.
WYKE. See Wijck.
WYL, J. VON. See Vonwyl.
"WYLIE, Robert, a landscape and subject
pointer, who by his art should be classed with the
French school. He was bom 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, Pinistere, 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 Wijnantb.
WYNEN. See Wijnen.
WYNFIELD, David Wilkib, painter, was a
grand-nephew of Sir David Wilkie, and was bom
in 1837. . He studied at first with a view to taking
orders, but in 1856 determined to be a. painter, 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.' Prom 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, hut he failed as a colourist. He
died May 26, 1887. Among his works we may
mention :
Last Moments of Oliver CromweU. (Foster Coll. S.
Xensington Museum.)
Buckingham murdered. 1872.
The Ladye's Knight. 1873.
Visit from the Inquisitors. 1875.
The New Curate. 1877.
WYNaAERDE. See Van den Wijnqaeede.
WYNTRANCK. See Wijntraok.
WYRSOH, Jean Melchioe Joseph, painter, born
in 1732, was the founder of the Academy of Paint-
ing and Sculpture at Besanjon, 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 the
massacre of Stantz, September 9, 1798.
WYTEWELDE, van, a painter who seems
to have enjoyed some repute at Ghent in the middle
of the 15th century. He is known to have been at
work in 1456.
WYTMAN. See Wijtman.
WYTTENBACH, Feiedrioh Anton, painter and
etcher, was born at Treves in 1812. He was a
pupil of Karl Ruben and of Sohadow. In 1832 he
returned to Treves from Diisseldorf, 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.
735
Xauto Avelli
A BIOGRAPHICAL DICTIONARY OF
Zimeno
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 1768, 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
pa,ssed some time in Paris. Occasionally he imi-
tated the manner of Berehem 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.
Braamcamp 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 the school of Fran-
cisco Fernandez, at Madrid. On the death of
Fernandez he went- to Rome, where he remained
for seven years. He afterwards returned to Madrid,
and practised for a time in the school of Carreno.
He painted several frescoes in collaboration with
Claudio Coello. He succeeded Francisco Rizi as
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, Aragbn, 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 Navarrete.
XIMENEZ, P. A. See Atbab, Ximenez.
XIMBNEZ-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- creditable ; 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 bom 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 ParrUla 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 Vincenzo Carduoho, 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 1652, is, perhaps, his best work.
736
Tahia
PAINTERS AND BNGRAVBES.
Yperen
Y.
YAHIA, BEN Mahmud, 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 1631, 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
art as an amateur. Between 1788 and 1794 he
exhibited sea-pieces at the Royal Academy, and
also published a series of drawings of ' Celebrated
Naval Actions.' He was shot in a quarrel, and died
in 1796. His widow was the famous actress.
YBATES, Geoeqb, 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.
t^YEATES, Nicholas, an obscure English en-
graver, who flourished about 1680, 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, and studied there under William
Shiels, the animal painter. He began practice as
a portrait painter and soon became popular, winning
the 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.
YEPBS, ToMAS DB, 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 bis native
city. He died in 1674.
YKBNS, Fkans, bom at Antwerp in 1601, was
an excellent painter of flowers, fruit, and dead
game. He studied under his uncle, Osias Beert,
and afterwards in Prance. 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.'
YKBNS, Jan, painter, was born at Antwerp in
VOL. II. 3 B
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 ia
signed, Johannes Yhens, 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, PiETEE, the elder, painter, was born at
Antwerp in 1599, and died in 1649. No details as
to his life and works are known, and he is chiefly
remembered as the father of Jan Ykens, and
grandfather of Pieter Ykens the younger.
YKENS, Pieter, 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 flne
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 kiiown :
Antwerp. Museum. St. Catharine disputing witli
the Philosophers.
„ „ Portrait of Jan Baptist Greyns.
„ „ Portrait of Janssens de Hujoel,
in a frame carved and em-
blazoned by Jan Baptist de
"Wree.
Lille. Museum. Saint Theresa,' ' signed Ftr.
Xkens Inventor et Fecit.
His son and pupil, Pieter Jan, also practised at
Antwerp.
YOLI, (or Yole). See JoLi, Antonio.
YONGKIND, JoHAN Barthold. See Jongkind
(Supplement).
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 Stafibrd,Angerstein,Grosv6nor,
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, ToBlAsi 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.
YPEREN, Karbl van, or YPRilS, Charles d',
painter, sculptor, and architect, was bom at Ypris
in 1510. He travelled for improvement in Italy,
737
Yriarte
A BIOGRAPHICAL DICTIOSTARY OF
Yvart
and is said to have been a pupil of Tintoretto. Van
Mander says that his death was caused by his
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 Imahte.
YSENDYCK, Antoinb Van, painter, bom 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 Mens 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.
YUNG, Antoine Robert, called Lejeune, en-
graver, was born 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 D^vdria
Chasselat, Colin, and Choquet.
YUNK, Enrico, painter, was bom at Turin in
1840. He studied first at the Academy of Turin,
and afterwards in Paris, under Gfoome 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 Yuso.
YVART, Baddouin, painter, bom at Boulogne
in 1610, was a member of the Matti-ise 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
' Siege of Douai ' by him. He died December 12th,
1690.
738
Zaagmoolen.
PAINTERS AND ENGRAVERS.
Zahu
z.
ZAAGMOOLEN, Mabtinus, 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 etching after a Boar-hunt, by Snyders. Its
date appears to be 1673.
ZAANREDAM. See Sabnbedam.
ZABELLI, Antonio, (or Zabaglio,) 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 Herd.
The Meeting of Christ and St. John ; after the same.
The Three Marys at the Tomb of Christ ; after Ann.
Carracei.
ZABELLO, Giovanni Francesco, an engraver,
w.-iH, according to Orlandi, a native of Bergamo,
and flourished about the year 1646. Ho marked
his prints with a die and the date.
ZACCAGNA, Turfing, a Florentine painter, who
flourished about 1537. He was a pupil of Luoa
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.
ZACOHIA, 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 Luccs», which
prove him to have been an artist of some ability.
Works :
Berlin. Museum. Virgin, Child, and St. John.
Lucca. Cathedral. St. Petronilla.
„ S. Salvadore. The Ascension.
„ Pinacoteca. The Assumption. 1527.
„ S. Miehele. Marriage of the Virgin.
„ Pietra Santa. Nativity. 1519.
Paris. Louvre. Portrait of a Musician.
His son, Lorenzo di Ferro Zacchia, called
Zacohia il Giovane, an indifferent painter and
engraver, also practised at Lucca.
ZACCOLINI, Padre Matteo, was born at Cesena,
in the Roman States, about 1590, and painted per-
spectives, in which he is said to have instructed
Domeniohino 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 1630.
3b 2
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. BruUiot 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.
ZABNRBDAM. See Saenrbdam.
ZAFFONATO, Alessandro, an Italian engraver,
who flourished about 1730. He engraved Raphael's
' Judgment of Solomon,' and a few other plates.
ZAFFONI, Giovanni Maria, better known as
Caldebabi, 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, FriuJi.
This fresco was taken by Ridolfl 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.
ZAGANELLI. See Dei Zaganelli.
ZAGBL, M. See Zatzinger.
ZAGO, Santo, a native of Venice, was brought
up in the school of Titian, and worked about 1560.
He 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, archseologist,
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 Stabise. 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
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.
739
Zahn
ZAHN, LuDWiG, genre painter, was born at
Munioli in 1830, and died in 1855. Among his
best works were :
Peasant Girl at Harvest Time.
The Emperor Maximilian at the ' Martiu'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.
ZAMACOiiS, Eduabdo, 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 Enlisting of Cervantes. 1863.
The Entry of the Toreros. {Painted in conjunction with
ribert.) 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, Matted, 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, Juan 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
Martyres, 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-
pieces and three large pictures upon the staircase
of the convent of San Basilio. He died at Seville
in 1639.
ZAMORA, Juan de, a native of Seville, flour-
ished from about 1650 to 1671. He distinguished
himself as a painter of landscapes, embellished with
historical figures, in which he appears to have
imitated the style of the best masters of the Flemish
school. Some of his best pictures are preserved
in the Episcopal Palace at Seville. There was also
a Diego Zamoea, 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, Q-iovANNi Battista, was born at
Cittadella, near Bassano, in 1620, and studied at
Venice, under Jacopo ApoUonio. He was a suc-
cessful imitator of Jacopo da Ponte, and painted
740
A BIOGRAPHICAL DICTIONARY OF
Zampieri
some altar-pieces for the churches at Bassano. He
died in 1700.
ZAMPIERI, DoMENico, (or Sampibei,) commonly
known as Domenichino, was born at Bologna in
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, Modena,
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 frequent 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
the 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. The next
work of Domenichino was his famous ' Communion
of St. Jerome,' painted for the principal altar of
San Girolamo della Carita, and long considered the
second picture in Rome. The reputation Domeni-
chino 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 :
V
The Madonna del Eosario.
Martyrdom of St. Agnes.
His own Portrait.
Portrait of Cardinal Agucchi.
The Magdalene.
Landscapes — 'The Eepose of
Venus ' and ' Diana and Ac-
tseon.'
Lives of St. Kilns and St. Bar-
tholomew—^«scoes.
Landscapes — 'The Angel and
Tobias ' and ' St. George and
the Dragon.'
Christ bearing His Cross.
Landscape with Callisto.
Landscape — Fishers.
St. Francis of Assisi. i
St. John.
Susannah in the Bath.
Female Magician.
Bologna.
)»
Florence.
Finacoteca.
Pitti.
Grotto Ferrata. Church.
London. Nat. Gall.
„ Bridgewater Gall.
„ Lord Carlisle.
„ Duke of Cleveland.
Modena. Gallery.
Zan
Munich Pindtothek.
Naples. Gap. d. Tesoro.
n Museum.
Vaas. Louvre.
PAINTERS AND ENGEAVEES.
Petersburg. Hermitage
JElome,
S. Lidgi de'
Francesi.
S. Andrea d. Valle.
8. Carlo Gatenari.
fatican.
Pal. Borghese.
Pal. Bospigliosi.
»>
Pal. Famese.
Sasannah at the Bath.
Subjects from the life of St.
Januarius.
The Guardian Angel.
Condemnation of Adam and
Eve.
King David.
Appearance of the Virgin and
Child to St. Anthony of
Fadna.
St. Paul caught up to Heaven.
St. Cecilia.
Combat of Hercules and Ache-
lous.
Alexander and Timoleon.
The Triumph of Love.
Rinaldo and Armida.
Herminia among the Shepherds.
The Assumption of the Magda-
lene.
) Subjects from the Life of St.
J Cecilia.
, The Four Evangelists.
, The four Virtues.
, The Communion of St. Jerome.
Diana and her Kymphs.
The Sibyl of Cumae.
Adam and Eve.
David conquering Goliath.
Frescoes — Karcissus ; Apollo ;
Venus and Adonis.
ZAN, Bbbnaed, an engraver mentioned in the
Abeoedario, is said to have flourished about the
year 1571, and to have marked his prints with
the initials £. Z., and the date. (See also Zaech,
Bebnard.)
ZANAEDI, Gentile, was, according to Orlandi,
a native of Bologna, and a pupil of Marc Antonio
Franceschini. She possessed an extraordinary
talent for copying, but also painted historical
pictures of her own composition.
ZANCAELI, PoLiPHiLos, (or Giancabli,) 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 1639, was
a scholar of the naturalist, Francesco Euschi.
In the Scuola di San Eocco, Venice, is his chief
performance, the 'Prayer of San Eocco.' 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. Pr. Trevisani
and Pietro Negri were his pupils.
ZANDEE, Cheistoph Eduahd, painter and
architect, was born at Eadegast, 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
pursuits, and made drawings of animals, plants,
costumes, and landscapes. The regent Ubi6 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, Gonte Antonio Maria, sometimes
called GlEOLAMO to distinguish him from his
nephew, was a Venetian nobleman, celebrated
both foT his collections of works of art and for his
own work as an amateur engraver. He was born
Zanotti
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 Eaphael, Parmigiano, and
other masters, many of which he had purchased
at the sale of the Arundel Collection. These cuts
are divided into two sets, and altogether consist of
nmety-nine prints, with the portrait of Zanetti
engraved by Faldoni after Eosalba, 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 Mythological subjects.
A set of twelve plates ; after B. Castiglione.
A coUeetion 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-
guished than his uncle for his love of art. In
1760 he published a set of eighty plates, de-
signed and etched by himself, from the works of
the Venetian painters, entitled ' Varie Pitture a
fresco de' principali Maestri Veneziani,' &c., and
also assisted his uncle in engravings from the
Venice statues. The work, however, by which he
IS best known, is his ' Pittura Veueziana,' a history
of painting in Venice, in five books (Venice, 1771).
He died in 1778.
ZANETTI, DoMENico, a Bolognese painter, who
worked at the Electoral Court of Diisseldorf at
the beginning of the 18th century. In the Munich
Pinakothek there is a ' Deposition ' by him.
ZANETTO. See Buqatti.
ZANGANELLI (Zaqanelli). 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 17tli
century, to form a collection of etchings from the
works of the most eminent Bolognese painters,
and for that purpose had 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. Carracoi.
ZANIMBEETI, Filippo, (or Zanibbeti,) 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, Peospeeo, a theatrical painter,
born 1698, died 1772, who flourished at Eeggio.
ZANOBI DI BENEDETTO. See Steozzi.
ZANOBEIO. See Cablevaeiis.
ZANOTTI. See Cavazzohi Zanotti.
741
Zanotto
A BIOGRAPHICAL DICTIONARY OF
Zavattari
ZANOTTO. See Bugatti.
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, LoKENZO da. See Lnzzi.
ZARATO. See L0zzi.
ZARINENA, Fbancisco, 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 Valenoian 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, GiosEFFO, 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.
ZASING-ER. See Zatzingeh.
ZATZINGER,MARTlN,(or MATHEUs),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 SA.'X) or ^^3^. ^^'^
which certain prints from metal of the early Ger-
man school are signed, may also be ascribed,
namely, Matheus Zinck and Matheus Ztindt (q. v.),
and one Mathes Zwikopf, a goldsmith of Munich,
to whom Nagler is inclined to assign the prints
initialed m. z. The names Zagel, Zuiglee, Zei-
SINGER, have also been suggested. Duplessis and
Thausing, however, speak confidently of the master
M. Z. as Mathseus Zasinger, or Zatzinger. The
earliest date on his existing works is 1600, and he
is thought not to have been alive after 1509. The
master M. 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 adoriog 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.
6. 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. Entertainment at the Court of Munich, given by the
Grand Duke Albreoht IV. (Dated 1500.)
12. The Great Tournament at Munich in 1500.
13. The King's Sons shooting at the Dead Body of
their Father; or, The Trial of Filial Affection.
(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 born at Ratisbon in 1733. His father, de-
742
scended from a Bohemian family, was architect to
the Prince of Thurn and Taxis. Zofiany 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 1768 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 hin; 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 1762. ZofEany was also a member
of the St. Martin's Lane Academy, and in 1769
was admitted to the newly established Royal
Academy, of which he painted many portraits
of the members. He also painted a group of
the Roj'al 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 his 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 liis 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 his 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 early works. He died at
Strand-on-the-Green, near Kew, November 11, 1810,
There are some portrait groups by him in the Royal
Collecton ; 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 are ' Col. Mordaunt's Cock Fight,'
' The Embassy of Hyder-Beck,' and ' The Tiger
Hunt.'
ZAVATTARI, Francesco, a Milanese painter of
the 15th century, was also by trade a glazier. Aided
by his brother, Cristoforo Zavattari, he executed
in 1444 a series of forty scenes from the legend of
Queen Theodolinda in the chapel of Santa Maria
del Rosario, in the cathedral of Monza, which,
although much faded, are still decipherable. Their
authorship is attested by the following inscription:
Zavattari
PAINTERS AND ENGEAVERS.
Zei
Saspice qui transis ut vivos corpore valtus
Peneque spirantes et sigua Bimillima verbis
De Zavattaris hac ornavere capellam
Preter in excelsum convexe picta triune. 1444.
In spite of this many writers ascribe the frescoes
in question to Troso da Monza. In 1453 both
brothers were at work in the Certosa of Pavia.
ZAVATTARI, Gregoeio, whose name frequently
occurs in the annals of Milan, is known to have
been employed on the decorations of the sanctuary
at Caravaggio previous to 1477.
ZAWORZIC. See Sceeta.
ZAYSINGER. See Zatzinger.
ZE. See De Zb.
ZEELANDER, Abkaham, engraver, born at
Amsterdam in 1789, was a pupil of J. B. Marcus.
He engraved plates after Gerard Dou, Brondgeest,
Noel and B. van Overbeck ; and six original land-
scapes with figures. He was for many years
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, Remiqius.
ZEEDW. See Marinus de Zeeuw.
ZEGELAAR, Gereit van, a deaf and dumb
painter, born at Loenen, near Utrecht, in 1719,
painted interiors and portraits. He practised at
Amsterdam, but died at Wageningen in 1794.
ZEGHEES, Daniel, (Segees, &c.,) was born at
Antwerp in 1590. He was first a pupil of his
father, Pieter Zeghees, 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 tliis expired,
he obtained permission to visit Rome, 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, Gornelis Schut, 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 these were transported to
the Imperial Gallery in Vienna. Others were sold
at low prices by the Austrian Government. Zeghers
himself cultivated the flowers which served him
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 (tJffizi), the Hague, Madrid, Munich,
Rotterdam, and Vienna.
ZEGHERS, Geeaed, (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,
soldiers 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 1620)
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 Dyok 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
are in the Louvre, and in the museums of Rotter-
dam, Brussels, Ghent, Vienna, &c.
ZEGHERS, Herkules, (Seghees, or Segees,)
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 may
be gathered from the fact that no less than six
of his landscapes occur in the inventory of that
master's efEeots, 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, who, 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, Kael Ltjdwig, (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 Citti 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 place,
representing the liberating Angel visiting the Souls
in Purgatory.
743
Zeiller
A BIOGRAPHICAL DICTIONARY OF
Zeuxis
ZEILLER. Thia was the name of a family of
painters of Reutte in the Tyrol, in the 17th and 18th
centuries.
ZEILLER, Fbanz 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 Conca 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.
' ZEISIQ, JoHANN Eleazae, (called Sohenau, or
Schonau,) 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
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 1766. 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 Electreaa,' 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 mes
petites eaux fortes k la douzaine ' (1765). He died
at Dresden in 1806.
ZEITBLOM, Baetholomaus, (or Zeytblom,) a
German painter of Ulm, of whom personally
all that is known is that in 1483 he married a
daughter of Hans Schiichlin, becoming thereby
connected with Martin SchaSner, 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 Schongauer, and his
works show the influence of both the Eranconian
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 stifE, 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 liis authentic pictures is 1504,
on a picture of the Pope-saint, Alexander, at
Augsburg. Works :
Augsburg. Gallery. Four panels from the Legend
of S. Valentine.
Berlin. Museum, Angels holding up the Suda-
rium (the back of a triptych
formerly at Eschach, the
wings of ■which are in the
Stuttgart Gallery).
» „ S. Peter.
ni=;^ TT?''°' 1 Monasterv. { '^^^. ™g^ ."* ^'^^ ''^'•"'^ '>^t^>^-
near Ulm. J " \ piece, pan
, painted on both sides,
with scenes from the Passion
and from the life of S. John
Baptist. Figures of Saints
at the back of the Shrine.
Bingen, near Sigmaringen. Two altar- wings.
Carlsruhe. Gallery. S. Virgilius of Salzburg, and S.
Laurence.
„ „ S. Maurice and S. Sebastian.
„ „ A Priest elevating the Host,
surrounded by Saints and
Angels.
„ „ Allegory of the Church Mili-
tant and the Church Tri-
umphant.
Munich. Pinakothek. S. Bridget.
„ „ S. Margaret and S. Ursula (two
companion panels, formerly
in the MoritzkapeUe at
Nuremberg).
Sigmaringen. Pracc) Eight panels with scenes from
Sohenzollem's Coll. J the Life of the Virgin (for-
merly at Pf uUendorf ) .
Stuttgart. Gallery. Sixteen 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, signed,
and dated 1497.
Other pictures at Nuremberg (Germanic Museum),
Nbrdlingen, Ulm, Donaueschingen. In the ' Archiv
fiir die zeichnenden Kunste,' for 1860, Harzen
ascribes a series of old Netherlandish (?) prints,
of which facsimiles exist in the British Museum, to
Zeitblom. These prints have given rise to much
discussion, but their ascription to Zeitblom is not
generally accepted. p, g,
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 the 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 liim in the Schleissheim
Gallery, and in that of Darmstadt, two copies, one
after Mengs, the other after Guido Reni. The
subject of the Schleissheim picture is a school-
master reading a paper to a circle of listeners.
ZELOTTI. See Farinati, Giov. Batt.
ZENALE. See Martini, Beenabdino.
ZENOBRIO, LucA di CA. See Caelbvaeiis.
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, ' Illustrium Jurisoonsultorum Imagines.'
ZEREZO. See Ceeezo.
ZETTER, Paul de. See De Zettee.
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 bom in the
78th Olympiad (B.C. 464-60), and died B.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,
Zevio
f AINTEKS AND ENGRAVEfiS.
Siesenis
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
figures, 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, Phny mentions a picture of
Penelope, in which he seemed to have expressed
the mind of that princess. The Crotonians 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
Scsean Gate. The painter Nicomachus seeing this
picture some time afterwards, could not restrain
the expression of liis admiration, when a bystander,
not equally 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 1 "
A picture of ' The Centaur Family ' was another of
his best productions, but it gave rise to the remark
of Lucian that Zeuxis chose his subjects for their
singularity ; it is stated, however, that he withdrew
this very picture from exhibition on finding that
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 here. 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 upon 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 Rome, 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 Altichibko.
ZEVIO, Stefano da. See under Stefano da
Verona.
ZEYL. SeeZiJL.
ZEYSINGBR. See Zatsingee.
ZEYTBLOM. See Zeitblom.
ZIARUKO, John, was a native of Poland, and
was probably a painter. We have by him a set of
large original etchings, representing the ceremonies
at the coronation of Louis XIII. of France.
ZICK, Janhaeius, was bom at Munich in 1733,
or 1734. He was at first a pupil of his father,
Johann Ziok, 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, appointed
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 bom at Ottobeuern
in 1702, and died at Bruohsal in 1762. He studied
in Venice, and worked as a decorative painter in
the Castles of Bruohsal and Wurzburg.
ZIEBEELEIN. See Zubeelein.
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
1855. In his later years he held the position of
director of the Dijon Academy and Museum. He
died in Paris, December 25, 1856. Amongst his
pictures are :
Amiens. S£tel de Ville. The Peace of Amiens.
Dijon. Museum. ' Les Pasteurs.'
1, „ A Summer Shower.
Lyons. „ Judith. 1847.
Nancy. „ St. George.
Versailles. Palace. Louis XIT. receiving Cardinal
Chigi.
„ „ Comte de Saucerre.
„ „ Various portraits.
ZIEGLER, Henby Bkyan, an English landscape
and genre painter, born in 1798. He was a pupil
of the elder Varley, and exhibited a large number
of works between 1814 and 1874 at the Royal
Academy, the British Institution, and the Society
of British Artists. His latter years were spent at
Ludlow, where he died, August 15, 1874.
ZIEGLER, Johann, designer and engraver, was
bom 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 u
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 FsfiDiiRlc, painter, was born at
Hoogstraeten, near Antwerp, in 1766. 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
is a picture of flowers, grapes, and gold-fish on a
marble table by him.
ZIESENIS, Johan Geoeg, was born 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,
&q., and in 1768 was invited to the Hague, where
he joined the Pictura Society, and painted several
745
Zifrondi
A BIOGRAPHICAL DICTIONABY OP
Zimmermaua
portraits of the Stadtholder William V. and of his
wife. An example of the former is in the E.
Museum, at Amsterdam.
ZIFRONDI, Antonio, (or Cifeondi,) was born,
according to Tassi, at Clusone, in the Bergamese,
in 1657. After being taught the rudiments of
design, he went to Bologna, where he entered the
school of Maro-Antonio Franoeschini, 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.
ZIGNANI, Maroo, 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, Willem, a Dutch painter, was
born at Amsterdam in 1796. In the Haarlem
Museum there is a picture by him representing
Jan van Oldenbarnevelt 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, Geeaekd Pieteesz van, (Ztl, or Zeyl,)
called Gbrakds, and Ghbbaed 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
Dyok was in full 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 Dyok.' 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.
ZIJLVELT, Adam, or Anton, van, (Zylvelt,
Sylvelt, &c.,) draughtsman and engraver, was
born at Amsterdam about the year 1643. He
imitated the style of Jan Vissoher 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.
Btlenne le Moine, Doctor in Theology at Leyden.
Christoph Wibtichius, Professor of the University of
Leyden.
Herman "Witsius, Professor of Theology at Franecter.
Comelis Bosch.
ZILOTTI, DoMENioo Beenardo, 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 Zuooarelli, which
are not without merit. There are several etchings
by Zilotti, some original, others after Simonini,
Mariesohi, and others. He died in 1780.
ZIMBRECHT. See Simbeecht.
ZIMMER, Samuel, draughtsman and painter,
was born at Hamburg in 1751. He was the pupil
successively of Koch, Richard, and J. J. Tischbein ;
he also studied law at Rostock and Gbttingen. He
produced many illustrations of natural history, and
was in 1790 appointed drawing master to Gottingen
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 Campagna.' 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. ,
ZIMMERMANN, Heineich 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 studied 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 Feiedeich, draughtsman
and painter, was born at Berlin in 1793, and studied
under Weitsch and Schadow. In 1814 he fought
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 Eadziwill. He
was drowned in the Loisach, near Wolferathshausen,
in 1820.
ZIMMERMANN, Max, (August Maximilian.)
painter and lithographer, was born at Zittau, in
Saxony, July 7, 1811. His father, the impresario
Zimmermann, brought him up as a musician, but
in his leisure he practised lithography. At the
age of twenty-three he abandoned music to devote
himself entirely to lithography, and joining Iiis
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 1550. 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, Richaed Augustus, genre and
landscape painter, was born in Zittau in 1820. He
Zimmermanii
PAINTERS AND ENGRAVERS.
Zobel
■was the son of the impresario Zimmermanii , 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, vjfhere he worked
for a goldsmith. He died after a short illness in
1876. Among his pictures we may note :
Potato Harvest. {Munich, New Pmakothek.)
(Arid 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, Robert, a landscape painter,
was born at Zittau in 1815. Among his pictures
are 'The Innthal, near Kufstein,' and a 'Water-
fall,' both dated 1863. 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
the same cipher, and is best known by 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 Murr, in
his description of Nuremberg, as Maihes Zinck,
Sculptor, Norihergae. 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
' 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, Cheistian Friedrich, (or Zink,) a
celebrated painter in enamel, was the son of a
goldsmith, and was born about 1684 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 1842. Zincke 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 for 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 goldsmith, 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 1721 he founded a school of
design, of which Boetius was 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. Ho sometimes used his talents in ille-
gitimate ways, and many portraits of Shakspeare,
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.
ZINGARO, II Giovane. See Negronb.
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 ' der deutsche
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 Vernet ; one entitled La Peche
heureuse ; the other, L'Ecueil dangereux.
A Landscape, with Nymphs bathing ; after Dietrich.
A Moonlight piece ; after A. van der Neer.
Two Views on the Main ; after G. G. Sch'utz.
A pair, representing the Port and the Gulf of Naples ;
after P. Mettay.
ZINK. See Zincke.
ZIPELIUS, Emilb, painter, was born at Miihl-
hausen, June 30, 1840, and was a pupil of Cogniet
and B^nddict 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 flourished
at the beginning of the 19th century. At the Salon
of 1810 the following by him were exhibited :
View of the Castle of Schonbrann, with the Emperor
Napoleon reviewing his Troops.
The Last Moments of the Marshal Duo de Montebello.
The Entry of Napoleon into Bordeaux.
The Entry of Napoleon into Toulouse.
There are ten drawings by Zix in the Louvre.
ZOAGLI, Erasmo da. See Piaggia.
ZOAN ANDREA. See Andrea, Zoan and
Vavassori.
ZOBEL, George J., an English engraver in
the mixed method, was born about 1810. He
contributed thirty-eight proofs altogether to the
747
Zoboli
A BIOGRAPHICAL DICTIONARY OP
Zoppo
exhibitions of the Royal Academy and Society of
British Artists between 1834 and 1874. His death
took place in 1881. His chief plates were :
Mrs. Payne Gallway and child ; a/fer Sir J. Reynolds.
Dr. Johnson as an infant. (Do)
Home from the Fair ; after Rosa Bonheur.
Still for a Moment ; after Sir J. Millais.
The "White Cockade. (Do.)
Can't you talk? after G. A. Holmes.
ZOBOLI, Jaoopo, 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, Rinuccini, 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,
Solimena, and others. He died at Florence in 1767.
ZOEST. See Soest.
ZOFFANY, JoHANN. See Zauffelt.
ZOLA, Giuseppe, landscape painter, was bom at
Brescia in 1675, and was a pupil of Tortelli. He
resided the greater part of his life at Ferrara, where
his landscapes with small figures were in great
request. He usually introduced sacrgd subjei;ts_
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, Feanz Joseph, was born at Mbhringen, in
Baden, in 1772, and was first instructed by his
father, a sculptor and painter. In his fourteenth
year he 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 1823 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
born at Klagenfurth about 1748, and was instructed
first by his father, Anton Zollee, 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.
ZOLLNBR, LuDWlQ, 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. Euthart, K. Schroder, and
others. He sometimes worked in conjunction with
Griinewald.
ZOOLEMAKER. See Solbmacker.
ZOON. See Son.
748
ZOMPINI, Gaetano, a Venetian painter and en-
graver, born about 1702, was a pupil of Niccol6
Bambini, and an imitator of Eicci. He worked
much on commission for the Spanish court, and
died in 1778.
ZOPPA, ViNCENZo. See Foppa.
ZOPPO II. See Miconb, Nicolas.
ZOPPO, Maeco, a native of Bologna, flourished
about 1468-1498, and worked at Padua, Venice,
and Bologna. The dates of his birth and death are
unknown. He was a pupil of Squarcione, and fre-
quently emphasized his relation to the master by
the signature Zoppo di Squardone. But his works
show strong traces of the influence of Tura, under
whom he may have studied in his youth, and are
sometimes grotesque to the verge of caricature.
He is conjectured to have been engaged in the
decorations at the Eremitani Chapel in Padua, and
to have been employed with Costa and others in
the decorations of the Schifanoia at Ferrara. At
Bologna he painted a great number of house facades,
none of which, however, have been preserved. The
greater part of his life was spent in Venice, but
soon after 1471 he went to Bologna, where many of
his pictures still remain, and where he is said to
have worked up to 1498. This Bolognese period
is marked by an improvement in his art, due no
doubt to the influence of Cossa and of Costa.
Malvasia asserts him to have been the master of
Francesco Francia, but this statement is rejected
by Crowe and Cavaloaselle, and is characterized
by Morelli as ' a fable, originating most likely at
Bologna, and dating from the 17th century.' Works :
Berlin. Museum. Altar-piece, Virgin and Child
enthroned, with Saints.
(Fainted for the Minorites of
Pesaro. Signed on a caiiellino
' Marco Zoppo da Bolognia
pinsit 1471 1 Vinexia.')
Bologna, Collegio di \ An altar-piece in twenty-three
S^agnuoli, J divisions. (Inscribed ' Opera
di Zoppo da Bolognia.')
„ Gallery. Virgin and Child between SS.
John Baptist and Augustine
(No. 209).
„ „ S. Apollonia,
Canford Lord Wim^ \ Virgin and Child, with boys
(Dorset), iomis Coll. J playing musical instruments.
(Formerly in the Manfrini
Collection)
London. Nat. Gall. St. Domenic, as the Institutor
of the Eosaiy.
PaTis(?). Frince Napoleon. Virgin of Mercy.
Pesaro. S. Giovanni) „, _, ,, „ ,. , ,ttj\
Evangelista. \ ^*- ^°^ ^^^ ^^.-ptist. (Mead)
„ „ The Man of Sorrows.
Venice. Manfrini Coll. Virgin giving the breast to the
Infant Christ. (Inscribed
' Opera del Zoppo di Squar-
cione.')
It is suggested that the altar-piece of 1452 in the
Padua Gallery, attributed to Squarcione, is in
reality by Zoppo.
ZOPPO, Paolo, a Brescian, flourished in the 16th
century. It is said that after having spent two
years in depicting the sack of Brescia on a crystal
basin for Doge Gritti, who was in office between
the years 1523 and 1538, he let it fall and broke
it, which so disheartened him, that he took to his
bed and died. This took place at Desenzano, on
the Lago di Garda. He seems to have worked for
a time at Venice, for in 1505 he visited Giovanni
BeUini, in company of Bembo, as the bearer of
a commission from the Marchioness of Mantua.
Zoppo
PAINTERS AND ENGRAVERS.
Zuccaro
Frescoes assigned to Paolo Zoppo exist in the
churches of San Pietro, San Domenico, Santa Maria
degli Angeli, and San Barnaba, all in Brescia. A
'St. James,' on panel, is in the Venice Accademia.
ZOPPO, Rocco, a relative of Marco Zoppo, and
a pupil of Perugino, painted in the 16th century.
An 'Adoration of the Shepherds' in the Berlin
Museum was formerly ascribed to him 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 Umbrian school, doubt the
authenticity of the cartellino.
ZOPPO Di LUGANO, Lo. See Discepoli.
ZORG (or Zoegh). See Soegh.
ZOROASTRO, a pupil of Leonardo da Vinci,
whose correct name is said (' Vasari,' Ed. Mil. iv.
p. 63) to have been Tosimaso 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 black 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, Geeakd. See Soest.
ZUBERLEIN, Jacob, (or Ziebeelbin,) 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 cuts,
among them the frontispieces to the 'Annals of
Crusius,' printed at Frankfort in 1595. He signed
his cuts with his monogram^ and often with a
small tub, in allusion to his name.
ZUBOZ, Alexis, a mezzotint engraver, lived in
the first half of the 18th 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 the portrait of Peter
the Great he put his name with the date 1729.
His name ia also found on the portraits of Anne
Petrowna and Catharine Alexowna.
ZUCGA. See Del Zucca.
ZUCCARELLI, Eeancesco, (or Zuccheeelli,)
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 Prance, 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. He had already
belonged to the 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, and the Belvedere,
and at Gotha. 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
' Sarto,
The Virgin and Infant Christ, with St. John and St.
Anne ; after the same.
The "Wise and the Foolish Virgins ; after Giov.Menozzi.
ZUCCARO, Fedeeico, (Zuccheeo, or Sucabus,)
the younger brother of Taddeo Zuccaro, was born
at St. Angelo in Vado, in 1543, (or 1542,) and was
placed under the tuition of his brother 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 ' The Transfiguration.' These works
gained him credit _; and Taddeo furnished him 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 in 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, Zuocaro'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 begun
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 which 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 Borghose ; a
749
Zuccaro
' Man with two Dogs,' in tlie Pitti Palace; a ' Ma-
donna and Child, with the Infant St. John,' in the
Vienna Gallery ; and a ' St. James of Spain and St.
Catherine,' in the Glasgow Gallery.
ZUCCARO, Taddeo, (or Zuooheeo,) was born at
St. Angelo in Vado, in the duohy of Urbino, in
1629. He was the son of Ottaviako Zuooabo, a
painter of little talent, by whom he was instructed
in 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 Danielle di Por, a painter then
in some estimation, who took him to Vitto, where,
when he was eighteen, he was employed to
decorate the fagade 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 1566, 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
his tomb by his brother Federigo : "Fredericus
mserens posuit anno 1568, moribus, pioturS,, Ra-
phaeli Urbinati simillimo." Pictures:
Christ in the Tomb. [Eheims Cathedral.)
Diana. (Ufflzi, Florence.)
The Magdalene. (Palace Pitti, Florence.)
Portrait of a lady of the Eiccardi Family. (Glasgow
Gallery.)
ZUCCATI, Sbbastiano, 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 Abminio, son of Valeric.
ZUCCHERBLLI, Fbakcesco. See Zdccaeelli.
ZUCCHERO. See Zuccaro.
ZUCCHI, Andbba, 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. Veronese.
The Death of Paolo Erizzo ; after P. Longhi.
The Birth of the Virgin ; after Niccolb Bamhini.
The Miracle of the Manna ; after G. Porta.
The Goddess Cybele in a Car, drawn by Lions ; after
Tintoretto.
Aurora and Tithonus ; after the same.
j5!neas saving Anchises from the Burning of Troy ; after
Seh. Eicci.
ZUCCHI, Antonio, A.R.A., painter, the son of
Francesco Zuochi, 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, he
travelled with them through Italy, drawing antique
and classic buildings, and was by them persuaded
to come to London, where he was employed in
750
A BIOGRAPHICAL DICTIONARY OF
Zugnf
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 ojf
ruined temples and ancient buildings. He married
Angelica Kauflinann in 1781, and, returning to
Italy, lived with her in Rome until his death in
1795.
ZUCCHI, Francesco, engraver, was borri 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 Pqrtrait of a Spaniard ; after Eubena ; in the
Dresden Gallery.
The Portrait of a Lady, resembling one of Bubens's
wives ; aft^ the same ; in the same collection.
St. Helena worshipping the Cross ; after Giambettino
Cignaroli.
Two Allegorical Subjects ; after Antonio Balestra.
ZUCCHI, GiasEPPB, engraver, brother of An-
tonio, practised in London for some years, and is
chiefly known in this country by his engravings
after Angelica KaufEmann.
ZUCCHI, Jacopo. See Del Zdcca.
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 be was appointed engraver to the Elector
of Saxony, and was employed to execute several
plates for the Dresden Gallery collection. Zani
says 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.
delV Ahhate.
The Crowning of St. Catharine ; after Rubens.
A Sacrifice to Venus ; after Ger. Lairesse.
The Flaying of Marsyas ; after Langhetti.
The Tribute-Money ; after Titian.
David with the Head of Goliath ; after Luc. Giordano.
ZUCCO, Francesco, was bom 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.
ZUGNI, Francesco, (or Giugni,) 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 'Tommaso Sandrino.
Zumpe
PAINTERS AND ENGRAVERS.
ZwoU
One of Zugni's best pictures is ' Tiie Circumcision,'
in the cliurch of Santa Maria delle Grazie, at
Venice. He died in 1621.
ZUMPE, Johannes, was born in 1819, and studied
at Leipsio under Hans Veit Schnorr, under Neher
at Stuttgart, and lastly under Julius 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.
ZtlNDT, Matthias, (or Zynndt,) an engraver,
was born at Nuremberg in 1498, and died in 1586.
He worked with both the graver and point, and
produced portraits, Scripture subjects, allegories,
and crests. Brulliot 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 Baleta, Grand Master of the
Knights of Malta. 1566.
Portrait of Louis III. de Bourbon-Oonde. 1568.
View of the city of Grodno, in Lithuania. 1568.
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, Feancisoo, was baptized on No-
vember 7, 1698, which was probably the day of
liis 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. He 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 the 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 Bernab6 de Ayala. A list of his
more accessible pictures is given below. The
Louvre formerly contained nearly a hundred
pictures by Zurbaran, most of them belonging to
the Spanish Gal!ery of Louis Philippe, which was
dispersed in 1853.
Berlin.
» »
Cadiz. Museum,
Ediuburgh. JVat. Gall.
London. iVa*. Gall.
„ Stafford House.
Madrid. Museum.
Munich.
Paris.
Finakothek,
Louvre.
Saragossa. Cathedral.
Seville.
Christ after the Scourging.
SS. Thomas Aquinas and Bona-
ventura.
Saint Bruno.
The Virgin in Glory.
A Franciscan Monk, kneeling in
Prayer, a SkuU in his Hands.
Virgin and Child, with Infant
St. John. .
The Vision of St. Peter Nolasco.
The Sleep of the Child Jesus.
St. Ca^ilda.
Ten Pictures of the Labours of
Hercules (formerly in the
' Buenretiro ').
St. Francis of Assisi.
St. Peter Nolasco and St. Ray-
mond of Pegnafort.
The Funeral of a Bishop.
St. ApoUonia.
Dead Christ.
Madonna de las Cuevas.
„ „ St. Thomas Aquinas, and the
Four Doctors of the Church,
with Donors.
(And several others.)
ZUSTERMANS. See Sutoermans.
ZUSTRIS. See Sdsteis.
ZWECKER, JoHANN Baptist, painter, was born
at Prankfort-on-the-Main, in 1815. He studied at
Diisseldorf, and in the Art School at Prankfort, and
painted the portraits of Henry I. 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
turned his attention to landscape, taking many of
his subjects from the Bavarian Highlands and
from Southern Tyrol. In 1853 he was named a
conservator of the Sohleissheim Gallery, and in
1869 of the Munich Pinakothek. He died at
Munich in 1884. His chief works are :
Autumn Landscape, with a Stag in the foreground.
1851. {N'cw Finakotheky Munich.)
Evening on the Alp. 1850. (Bo.)
Sunset, and Stags by a Lake. (Leipsic Museum.)
Two River Landscapes at Sunset. (St, Kensington
Museum^ Townshend Bequest.)
ZWIKOPF. See Zatzingee.
ZWINGER, GusTAV Philipp, painter and etcher,
was born at Nuremberg in 1779. He was the son
and pupil of the painter and engraver Sigmund
Zwingee (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 k la Navette,' or ' Master of the
Weaver's Shuttle,' and gives his name as Zwott.
Other writers have entitled him J. Anoker von,
751
ZwoU
PAINTERS AND ENGRAVERS.
Zymbrecht
Zwoll. But the cipher with which the prints
ascribed to him are marked has by recent experts
been declared to be, not a shuttle, but a goldsmith's
scraper or burnisher, and the word Stoott. gener-
ally engrared 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. Tor 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 Johannes 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 sufSciently probable
solution of the difficulty. Nagler, however, points
out that the M. could not stand for Monachus, as 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.
This 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 Willshire' s 'Catalogue of
Flemish and German Prints,' vol. ii. pp. 322 — 364 ;
Nagler's ' Monogrammisten,' vol. iii. pp. 741, 843 ;
Ottley' 8 ' 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.
The Last Supper.
Christ on the Mount of Olives.
Christ taken in the Garden.
Christ Crucified between two Thieves.
The Entombment of Christ {a Pietd,).
The Saviour standing holding an open Book in one
hand, and giving benediction with the other.
The Virgin with the Infant, who is taming the leaves
of a Book.
Virgin with 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 Medaliions 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 Angelic Salutation. j^ g^
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 Zijderweld.
ZYL, (or Zetl,) Gbkaed Pibtbesz van. See
ZlJL.
ZYLVELT, Adam van. See Zijlvblt.
ZYMBRECHT. See Simbeecht.
752
SUPPLEMENT.
ACHAED, Jean Alexis, painter and etcher,
was born at Voreppe (Is&re), June 8, 1807. He
first appeared at the Salon in 1839, with a 'View
near Cairo,' after which he contributed a number
of landscapes, chiefly French in subject. His
' View near Grenoble ' is in the Luxembourg.
Towards the close of his -life he devoted himself
mainly to etching. He died October 6, 1884.
ADAM, Feanz, a German painter of horses,
equestrian portraits, and battle-pieces, was born
at Milan, May 4, 1815, and was the pupil of
his father, Albrecht Adam. He practised chiefly
at Vienna and Munich. He served with the
Austrian army in the campaigns of 1849 and 1859,
and made innumerable sketches of life in the field,
many of which he afterwards used for pictures.
He was a member of the Academies of Munich and
Vienna, and gained medals in Paris and Berlin.
He died September 29, 1886.
AMERLING, Friedeich, painter, was born at
Vienna, April 14, 1803. After some hard struggles
occasioned by narrow means, he succeeded in
entering the Vienna Academy as a pupil, and
completed his training under Lawrence in London
and under Vernet in Paris. On his return to
Vienna he gained the first prize at the Academy
with his 'Dido forsaken' and 'Moses the Law-
giver.' He several times visited Italy. He became
a very popular portrait painter in his native city, but
continued to paint occasional historical and subject
pictures. Among his best known works in each
genre we may name : portraits of himself, of the
Empercii: Francis I., of Thorwaldsen, of Franz
Grillparzer, and of Prince Windisohgratz, also
'Judith,' ' Ophelia,' ' The Widow,' ' Eoman Woman
with her Infant.' Amerling was a member of the
Vienna Academy. He died at Vienna in January,
ANDERSON, Robert, born in 1842, was a
Scottish engraver of some repute. In the latter
part of his life he devoted himself to painting in
water-colour. He was elected an Associate of the
Royal Scottish Academy in 1879, and died in
Edinburgh, April 24, 1885.
ANGELL, Helen Cordelia, n^e Coleman, was
born in 1847, and early distinguished herself
as a brilliant and original painter of flowers
and kindred subjects, which she was among the
first of modern English painters to treat with
breadth and vigour. She first exhibited at the
Dudley Gallery in 1866. She became a member
of the Institute of Painters in Water-Colours, but
seceded in 1879, on being elected an associate
exhibitor of the Society of Painters in Water-
Colours, of which she afterwards became a member.
She married, in 1875, Mr. W. T. Angell, and died
at the age of thirty-seven, March 8tli, 1884. Her
last picture was exhibited at the Dudley Gallery in
the winter of 1889.
vol. II.
c CO
ANNIS, W. T., an English mezzotint engraver,
of whom very little is known. He exhibited
landscapes at the Royal Academy between the
years 1798 and 1811, and engraved the following
plates in Turner's Liber Studiorum :
Sunset ; No. 40.
Chepstow Oastle; No. 48. Also
Mary WoUstonecraft Godwin ; after Opie.
ANSDELL, Richard, painter, was born at Liver-
pool in 1815. He was educated at the Bluecoat
School, and was then put into business at Liver-
pool, but his desire to become an artist triumphed,
and he was allowed to study painting. In 1840 he
exhibited his first pictures at the Royal Academy,
' Grouse Shooting ' and ' A Galloway Farm.' He
then made a few not very successful essays in
history, but eventually devoted himself almost
entirely to animal painting, in which genre he
became known as a popular imitator of Landseer.
His ' Turning the Drove ' gained a gold medal at
the Paris Exhibition of 1855. Between 1850 and
1860 he occasionally painted in conjunction with
Thomas Creswiok, the latter supplying landscapes
for Ansdell's studies of cattle, &c. Among the
results of this co-operation were, the ' South-
downs,' the ' Drover's Halt,' and the ' Park.' Mr.
Frith also painted figures in some of Ansdell's
pictures, an example being the milkmaid in ' Feed-
ing the Calves.' In 1856'Ansdell visited Spain,
in company with his friend John Phillip, and
painted a number of subjects of SpAnish popular
life, such as ' The Water-carrier,' ' Mules drinking,'
'Spanish Flower-seller.' He became an associate
of the Royal Academy in 1861, and a member in
1875. Among the best of his later works were
'The Goatherds of Granada' and 'The Home of
the Red Deer.' Ansdell etched a few plates of no
great merit. He died April 25, 1885.
ANTHONY, Mark, landscape painter, was of
Welsh extraction, but was born at Manchester in
1817. He studied medicine in his early youth, and
at the age of sixteen was placed with a doctor at
Cowbridge. Here he spent all his leisure in
sketching and drawing, and his master, who seems
to have shared his artistic tastes, and to have been
himself an amateur of some practice, gave him
occasional lessons in painting, and otherwise en-
couraged his talent. The result was that the young
man, who had some private means, threw up his
medical pursuits, and went to study in earnest in
Paris and at the Hague. He remained abroad for
ten years, making Paris his head-quarters, and in
1837 sent his first landscape for exhibition at the
Royal Academy. In the same year he was working
at Fontainebleau, and there came in contact with
Jules Dupr6 and Corot, whose influence naturally
told strongly upon his art. In 1840 he first
exhibited with the British Institution, and in 1845
753
Bacon
SUPPLEMENT.
Saviera
was elected a member of tbe Society of British
Artists. With them he exhibited ' Harvest Home '
(1847), 'Prayer for the Absent' (1848), 'Old
Country Churchyard' (1849), ' The Elm at Eve '
(1850). Erom 1851 onwards his works appeared
pretty constantly at the Royal Academy. In 1852
Anthony resigned his membership of the ' British
Artists,' hoping for an A.R.A.-ship, which, how-
ever, never fell to him. He gradually withdrew
from all society, save that of very intimate friends,
and died December 2, 1886. His pictures are
chiefly in the possession of private patrons.
BACON, Erederick, engraver, born in London
in 1803, was a student of the Royal Academy for
some time under Euseli, and afterwards became a
pupil and assistant of the Findens. He engraved,
on his own account, illustrations for the Waverley
Novels, and for Heath's Annuals, &c., and was
much employed by Messrs. Colnaghi and Puckle,
and for the Art Union. In 1869 he retired from
the active exercise of his profession, and in 1882
left England for California, where he invested in a
property, and where he died in 1887.
BALZE, Paul Jean, enamel painter, born at
Rome of French parents in 1815, was a pupil of
Ingres. He was best known by copies made in
conjunction with his brother Raymond Joseph, of
Raphael's frescoes in the Vatican, a work on which
he was engaged ten years. He also worked for
Parisian churches. He died in 1884.
BARKER, Thomas Jones, a popular painter ot
battle-pieces and military subjects, was the son of
" Barker of Bath," from whom he received his first
teaching, and was born in 1815. At the age of
nineteen he went to Paris, and entered the studio
of Horace Vernet, on many of whose pictures he
collaborated. His first pictures were exhibited in
Paris, among them a ' Death of the Grand Mon-
arque ' for Louis Philippe. Among his later works
were 'Meeting of Wellington and Blucher after
Waterloo,' 'Nelson's Prayer in the cabin of the
Victory,' ' The Secret of England's Greatness,' and
'The Riderless Horse, after Sedan.' Barker died
March 29, 1882.
BASTIEN-LEPAGE, Jules, painter, was born
at Damvillers, Lorraine, November 1, 1850. His
parents were poor, and in his early manhood he
had a hard struggle for existence. He began life
as a government clerk in his native district, but at
nineteen quitted the desk, and coming to Paris,
entered Cabanel's atelier. Associated as his name
now is with an art essentially actual and realistic,
it is curious to find him making his debut in
pseudo-pastoral in 18th century taste. One of his
earliest recorded works is ' Women in a wood
attacked by Cupids,' and in 1874 he exhibited at
the Salon a peasant girl surrounded by piping
Cupids, together with his first notable work, ' Le
Portrait du Grandp^re.' The following year was
marked by the production of one of his most pathetic
and masterly studies of humble life 'La Petite
Communiante.' In this same year he competed for
the prix de Rome with a remarkable work, 'Les
Bergers' ('The Angels appearing to the Shep-
herds '). The Art section of the Academy awarded
it the prize, but their decision was overruled by
the majority of the Council. The disappointment,
though severe, did him good service. An outcry
was raised against the injustice of the reversal, and
Bastien-Lepage'sname became well known through-
out the country He himself used to assert that
754
this was the starting-point of his career. For the
remaining years of his life he was a prominent
figure in the French art world, and became well
known in this country as an exponent of the tra-
ditions of Millet and Courbet, modified by his own
vigorous individuality. He is said to have expressed
an ambition to paint a cycle of rustic subjects,
setting forth the chief events of peasant life in
cihldhood, maturity, and old age, and such pictures
as ' Les Foins,' ' La Saison d'Octobre,' ' Le Men-
diant,' and 'Pauvre Fauvette' may be takeii as
links in the sequence. His ' Joan of Arc ' of 1880,
in which, discarding convention, he represents his
heroine as a poor and even squalid peasant girl,
glorified by a mystic spiritual grandeur, may be
said to summarize his artistic idea. ' He died in
Paris of cancer of the stomach, at the early age of
thirty-six, December 3, 1884. Besides the works
above mentioned, the following are remarkable :
Tlie ■Wood-Cutter.
My Parents.
Rustic Courtship.
Portrait of the Prince ot Wales.
„ „ Madame Sarah Bernhardt.
„ „ M.Albert Wolf, of the Paris 'Figaro.'
BAUDEY, Paul Jacques Aim^, painter, was
born, of humble parentage, at La Eoche-sur-Yon,
Vendue, November 7, 1828. He first studied under
one Sartoris, at La Roche, and was afterwards sent
to Paris with an allowance from his native city.
In Paris he became the pupil of Drolling, and in
1850 won the Grand Prix de Rome with a ' Zenobia
found on the Banks of the Araxes.' Four years
in Rome were spent in the <jtudy of Michelangelo,
Raphael, Titian, and Gorreggio, from each of whom
he endeavoured to take some characteristic quality.
During his stay in Italy he sent pictures to the
Salon which attracted much attention, and this
success continued after his return to Paris. It was
in quasi-historical, decorative painting, in which
his fine sense of balance and his pleasant colour
served him well, that he succeeded best, and so,
about 1865, he was invited to take part in the
decoration of the new Opera. In preparation for
this task he revisited Italy, made a series of partial
copies from Buonarroti's frescoes in the Sistine
Chapel, and studied Raphael at the Stanze. In
1867 he came to England, and finished a series of
copies from Raphael's cartoons. The actual decora-
tion of the Opera /oj/er absorbed Baudry's energies
for some twelve years. The subjects are single
figures of the Muses, Polymnia excepted, and
various scenes from mythology, legend, and even
biblical history. Besides these decorations, Baudry
painted much for private patrons, and at the Salon
of 1881 he obtained the medaille dhonneur for his
' Glorification de la Loi,' a ceiling for the Cour de
Cassation. Throughout his career he combined
portrait painting with his decorative work. Among
his portraits, the best, perhaps, are those of Beul^
(1857), Baron Dupin (1860), diaries Gamier (1868),
and Edmond About (1871). In 1870 Baudry wns
elected a member of the Institute, He died
January 7, 1886.
BAUGNIET, C, a well-known Belgian draughts-
man on stone, who practised chiefly in Paris, and
whose portraits were especially noteworthy. He
died at Sevres, July 3, 1886.
BAVIERA, a native of Parma, and one of the
pupils of Raphael. Of his work nothing is known,
and details of his relations with Sanzio are of the
scantiest, but that he was a trusted friend and con-
Beatricius
SUPPLEMENT.
Bonviu
fidant of the master appears from the fact that
to him Raphael gave the copper-plates of the en-
gravings executed for him by Marc Antonio, that
his name figures as signatory to a contract con-
cluded on behalf of Raphael in 1615, and that
before his death Raphael confided to his care his
mistress, the famous ' Fornarina.' He is further
mentioned by Vasari as having come to the aid of
his fellow-pupil, Perino del Vaga, vfhen the latter
was rendered destitute by the sack of Rome in 1527.
BEATRICIUS. See above, Master of the Die.
BEAULIEU, Anatolb Henri db, a French
painter of historical, genre, and military subjects,
was born in Paris in 1819, and was a pupil of Dela-
croix. He died in 1884.
BEAUME, Joseph, a French historical painter,
bom at Marseilles in 1796, was a favourite pupil
of Gros, and a frequent contributor to the Salon
between 1819 and 1878. In the time of Louis
Philippe he was commissioned to paint several
large battle-pieces for Versailles. His ' Henri III.
on his Death-bed ' is in the Luxembourg. He died
in September, 1885.
BEAUMONT, Charles Edouaed de, painter,
was a native of Lannion (C6tes de Nord), and a
pupil of Boisselier. He painted genre pictures,
generally of a humorous character, both in oils and
water-colour, and gained medals in 1870 and 1875.
He was president of the Sooietd des Aquarellistes
Franjais at the time of his death, which took place
in January, 1888.
BECKER, AnensT, landscape painter, was born
at Darmstadt in 1822. He studied in his native
town under Sohilbach, and afterwards settled at
Diisseldorf. He several times visited Queen Vic-
toria at Balmoral, where he painted a series of
pictures of Highland scenery, and gave lessons to
the young princesses. In 1862 lie became teacher
to the Hereditary Princess of Hohenzollern. He
died at Dusseldorf in December, 1887.
BEGAS, OsKAR, painter, was born in Berlin,
July 31, 1828. He was the son of Carl Begas,
from whom he received his first teaching. In 1862
he won a premium, which enabled him to travel to
Italy. He worked in Rome for some time, and
there painted a ' Descent from the Cross ' for the
church of St. Michael at Berlin. He then visited
France and England, and on his return to Berlin
devoted himself to portrait painting and decora-
tion. In 1866 he became Professor at the Berlin
Academy. He died at Berlin, in November, 1883.
BERNARD, Theodore. See Barentsejt, Dibk.
BBRTINOT, GusTAVB, a French engraver, was
bom at Louviers (Eure), June 23, 1822. He was
a pupil of Drolling and Martinet, and gained the
prix de Rome in 1850. In 1867 he gained a medal
of the first class and the Cross of the Legion. He
succeeded Martinet at the Academic des Beaux
Arts in 1878. He died April 19, 1888. Among
his best plates were portraits of Ingres, Cherubini,
and Van Dyck, and the ' Vierge aux Donataires,'
after Van Dyck.
BERTRAND, James, a French painter, and native
of Lyons, was one of tlie most distinguished of
Perrin's pupils. His subjects were chiefly poetical
and mythological. Among pictures exhibited by
him at the Salon we may mention : ' The Com-
munion of S. Benedict (now in the possession of
the Soci6t6des Beaux Arts at Lyons), ' The Conver-
sion of S. Thais,' ' S. Mary of Egypt,' ' Peasants of
the Abruzzi at S. Peter's,' ' Phryne at Bleusis,' and
' The Death of Sappho.' He died in September, 1887.
002
BEVILACQUA, Amerogio and Filippo, Milanese
painters, were brothers and partners, and flourished
at the end of the 15th century. 'They were em-
ployed at the Palace and in the Duomo, and
Ambrogio painted an allegory of Charity on the
front of the Milan poor-house in 1486. The only
acknowledged picture by him is a ' Virgin and
Child between King David and Peter Martyr,' in
the Brera. See also Vigevano, Ambrogio da, above.
BIELBY, W., topographical draughtsman, flour-
ished towards the end of the 18th century, and
painted some of the views engraved in Angus'
' Seats of the Nobility and Gentry,' publislied 1787.
Some views of Chelsea and Battersea by him were
engraved in aquatint by Jukes.
BILLINGTON, Horace W., landscape painter,
was the brother of the celebrated singer. A land-
scape by him was exliibited at the Royal Academy
in 1802. He died in London, November 17, 1812.
BLANC, Ltjdwig Ammy, a painter of portraits
and mediseval genre, was born at Berlin, August 9,
1810. In 1829 he entered the Berlin Academy
schools, and in 1834 removed to Diisseldorf, where
he studied under Julius Hiibner. From 1840 to
1842 he worked at Hanover, painting portraits of
members of the reigning family, and other persons
of note, and in 1845-7 he was similarly employed
at Darmstadt. In 1857 he visited France and
England. He died in April, 1885. There is a
picture by him in the Berlin National Gallery.
BOND, R. Sebastian, landscape painter, was
born at Liverpool in 1808. He was educated in
his native city, and practised there for the greater
part of his life, settling finally at Bettws-y-Coed.
He occasionally exhibited in London between 1846
and 1872, but most of his works appeared at
Liverpool and in the midland counties. He died
in February, 1886.
BONHBUR, FRANgois Auguste, painter, was
born at Bordeaux in 1824, and was his father's pupil.
He was the brother of Mile. Rosa Bonheur. His
first picture exhibited at the Salon was ' Children
and Cockchafer,' in 1845. He afterwards painted
portraits, but was best known by his landscapes
with cattle. He died of heart disease in a railway
carriage in Paris, February 21, 1884.
BONSTETTEN, Abr. Sigm. August von, a Swiss
landscape painter, born in 1796, of a good family.
He was brought up for the military service, and
served in a Swiss regiment in the pay of the
Dutch Government. After the separation of
Belgium from Holland, he gave up soldiering and
devoted himself entirely to art. Possessed of con-
siderable property, his works but seldom appeared
at the public exhibitions. He died at Sinneringen,
near Berne, in 1879.
BONVIN, Franqois Saint, a French painter of
still-life and of interiors in the style of Chardin,
was born in Vaugirard, Pai-is, November 22, 1817.
His father was a garde-champ&ifre, and Bonvin
was educated at the charge of patrons in the
drawing school of the Rue de I'Ecole de M^decine.
For more than thirty years he was a constant
exhibitor at the Salon, gaining the Legion of
Honour in 1870. In 1881 he entered the Hospital
of Saint Jean de Dieu to be operated on for the
stone, and for the rest of his life was an invalid.
He died in 1888. Pictures ;
L'Ecole des Orphelins. {Langres Museum.)
La Charity. {Niort Museum.)
Le E^fectoire. (Luxembourg Museum)
Servante a la Fontaine. [Do.)
755
Boulanger
SUPPLEMENT.
Bunney
BOULANGER, Gustavb Rodolphe Clabencb,
painter, was born in Paris, April 25, 1824. He
began his art education at an early age, and when
only fourteen was sent by an uncle to Aifrica, where
he spent eight months making sketches, and where
he seems to have imbibed his love for Oriental
subjects. He became a pupil of Paul Delaroche
and of Jolivet, and in 1849 gained the prix de
Rome, and remained in Italy till 1856. His mature
performances failed to justify bis early promise,
but his works had nevertheless great popularity.
He devoted himself to Oriental and archaeological
painting, treating Roman and Grecian themes
somewhat in the manner of Mr. Alma Tadema.
In 1882 he was elected a member of the Institute,
and was long a professor at the Ecole des Beaux
Arts, where he showed much ability as a teacher.
He married Madame Nathalie, of the Com^die
Pran9ais, and to this theatre he presented a portrait
of his wife, painted in 1867. He was also the
author of a series of mural pictures in the Foyer
de la Danse of the new Opera house in Paris, and
of two in Prince Napoleon's Pompeian house in the
Avenue Montaigne, the 'Flute Player' and the
' Wife of Diomed,' themes which he several times
repeated. He died in Paris of congestion of the
lungs, September 22, 1888.
BOURSSE, EsAiAs, a Dutch painter of domestic
interiors, was born at Amsterdam about 1630. He
was working in his native city from about 1656 to
1672. He visited Italy, and made several voyages
to the East Indies in the service of the Dutch East
India Company. His works are rare, and but little
known. The Rijks Museum at Amsterdam has an
' Interior with a Woman spinning ' ; the Suer-
mondt Museum at Aix-la-Chapelle has an example ;
and Sir Richard Wallace an ' Interior, with a
Woman sitting by a Child in a Cradle.'
BllASSEUR, Antoine, painter, was bom at
Lille in 1819, and brought up at the Comtesse
Foundling Hospital. He gained a wide reputation
as a restorer of pictures, JEollowing his calling at
Cologne. On his death, in 1886, he left his large
collection of pictures to the museum of his native
town.
BREDAEL, Jozef van, a Flemish painter, born
at Antwerp, August 14, 1688, painted landscapes,
but was best known as a copyist of the works of
Brueghel, Wouvernians, and others, for the picture-
dealer Jacob de Witte. In 1736 he settled in Paris,
where he became painter to the Duke of Orleans.
He died in Paris in 1739. There is a river land-
scape by him in the Rijks Museum at Amsterdam.
BRONDGEEST, Albeetus, a Dutch painter, was
born at Amsterdam, December 2, 1786. He was a
pupil of P. G. van Os and of H. Numan. He
travelled in Germany, became a member of the
Netherlands Institute and of the Antwerp Academy,
and painted many landscapes and marines. He
died at Amsterdam, July 30, 1849. Works :
Amsterdam.
B. Museum.
A River Scene. 1837.
Ditto (after Cuyp).
BROOKES, Warwick, draughtsman and de-
signer, was born at Salford, of poor parents, in
1808. On leaving school he was placed as 'tear-
boy' under his uncle, a block-printer in some
calico printing works. But his drawings having
attracted the attention of his master, he was pro-
moted to the designing-room. In 1838 a ' School
of Design' was established at Manchester, and
Brookes was one of the first to avail himself of
756
its instruction. He was afterwards one of the
most zealous among the band of young men who
associated themselves for study from the life as
"The United Society of Manchester Artists."
Brookes now began to make a local reputation,
and the Manchester Exhibition of 1857 brought
him before a wider public. His contributions were
noticed and admired by the Prince Consort, and
he was brought into contact with many brother
artists, and for a time paid yearly visits to London.
He was about this time engaged by the Rosson-
dale Printing Company, and among other books,
illustrated the works of Dr. John Browne. In
1865 the first symptoms of lung disease showed
themselves. He was gradually forced to give up
active work, aud in 1871 was granted a pension
of £100 a year on the Civil List. He died at
Salford, August 11, 1882, and was buried at Brook-
lands, near Sale, Cheshire. For further particulars
see the ' Portfolio ' for November and December,
1886.
BROWNE, Hablot Knight, better known as
'Phiz,' was bom at Kennington, June 15, 1816.
His father, a merchant, was a native of Norfolk.
Hablot (so named after a French officer killed at
Waterloo, to whom his sister was betrothed) was
apprenticed to William Finden, and domiciled in
London with a sister married to Elhanan Bicknell,
the well-known collector. Engraving, however,
was not to the boy's taste, and he began to dabble
in water-colour. After his time was out he took
a modest lodging in company with a friend, and
entered as a student at the St. Martin's Lane life-
school, where Etty was working at the time. In
1832 Browne gained a medal from the Society of
Arts, having in 1830 begun that association with
Dickens, for which he is chiefly remembered. His
first drawings were for ' Sunday as it is, by
Timothy Sparks.' The publication of ' Pickwick '
followed in the same year, and after the death of
Robert Seymour, and the failure of Buss, Browne
was chosen by Dickens to finish the series. On
the first two plates he signed himself ' Nemo,' but
afterwards adopted 'Pliiz,' as more in harmony
with 'Boz.' This association between writer and
artist lasted many years, and bore fruit in ' Nicho-
las Nickleby,' 1839; 'Martin Chuzzlewit,' 1844;
'Dorabey and Son,' 1848: 'David Copperfield,'
1850 ; ' Bleak House,' 1853'; '' Little Dorrit,' 1855,
and 'A Tale of Two Cities,' 1859. Later, 'Phiz'
designed illustrations for the novels of Ainswortli,
Lever, and Frank Smedley ; his mastery of horses
serving *liim well with the two latter. After his
prosperity became assured he left London, and
lived successively at Croydon and at Banstead,
working at his art, and spending most of his leisure
in the hunting-field. He painted in water-colours
and occasionally in oil, contributing for many years
to the British Institution and the Society of British
Artists, and even competing at Westminster Hall
in 1843. In 1867 he was overtaken lay partial
paral3'sis, and though he continued to work for
the fifteen years that passed before his death, his
hand had lost its cunning. Towards the close of
his life he received a small pension from the Royal
Academy. In 1880 he moved with his wife and
family to Brighton, where he died, July 8, 1882.
BUNNEY, John Wharlton, painter, born in
1808, was an English artist practising in Venice.
In 1873, 1879, and 1881 he exhibited views of
Venice at the Royal Academy. For the last four
years of his life he was engaged on an elaborate
Burnitz
SUPPLEMENT.
Caldecott
and minutely finished transcript from the west
front of St. Mark's, on a commission from Mr.
Buskin. He died at Venice, Sept. 23, 1882.
BUENITZ, Carl Peter, landscape painter, was
bom at Frankfort-on-the-Main in 1824. He was
brought up to the profession of an advocate, and in
1847 took his doctor's degree at Heidelberg, but
he meantime diligently studied art without a
teacher. After travels in Spain and Algiers, he
lived for ten years in Paris, where he devoted him-
self entirely to painting, and received valuable
help from Dupr6, Corot, and Theodore Rousseau.
He first exhibited at the Salon in 1855, a landscape
which was bought by the Emperor. He died in
1866.
BURTON, W. P., son of Capt. Wm. Paton
Burton, an oflBlcer in the Indian army, and nephew
of Dr. John Hill Burton, was born at Madras in
1828. He was educated in Edinburgh, and entered
the ofSce of David Bryce of that city, intending to
become an architect, but eventually devoted him-
self to landscape painting in water-colours. He
travelled much on the continent and in Egypt,
and produced many drawings of French river
scenery, and of old buildings in Holland and Egypt,
besides numerous studies of Surrey and Sussex
landscape. He died at Aberdeen on the 31st
December, 1883.
BUTIN, Ulyssb, painter, was bom at Saint
Quentin in 1838. He early showed a talent for
art, but his parents were poor, and could not
afford to educate him fully. He accordingly began
his career as a designer of patterns for muslins in
a factory of his native town. While thus en-
gaged he won a prize of three hundred francs, and
with the money travelled to Paris, where he com-
bined work at his trade with study under Pieot at
the Ecole des Beaux Arts. In 1871 he made his
dehut at the Salon with a picture called ' Le
Bouffon.' He subsequently exhibited many pic-
tures, chiefly scenes of fisher life. Among the best
of these were ' Waiting for the Boats, Villerville,'
1875, and 'A Sailor's Funeral, Villerville,' 1878.
The latter is in the Luxembourg. For twelve
years he held the post of professor of drawing to
the Bcoles de la Ville de Paris. He died in Paris,
December 9, 1883.
CABANBL, Alexandre, painter, was bom at
Montpellier in 1823. He came to Paris at an early
age, entered Picot's atelier, and crowned a successful
course at the ficole des Beaux Arts by gaining the
prix de Rome in 1845. While in Rome he painted
a 'Death of Moses,' which attracted considerable
attention at the Salon of 1862, and for which he
was awarded a medal of the second class. Another
meritorious early work was his 'Glorification of
Saint Louis,' exhibited at the Salon of 1855, and
now in the Luxembourg. But the picture by
which he is best known is his ' Birth of Venus ' of
1863, also in the Luxembourg, which was engraved
by Jules Franjois, and in which the painter may
be said to have reached the highest expression of
his graceful, delicate, and insipid art. Under the
Second Empire, Cabanel became the fashionable
portraitist of his day, and painted most of the
Mganles of the third Napoleon's Court. " His
satiny complexions and mincing hands," says a
French critic, " were a continual source of delight
to ladies and irritation to artists." His portrait of
the Emperor, painted for the Empress, gained the
mddaille d'honneur of 1866. Under the Republic
Cabanel was no less popular, and up to the very
time of his death was overwhelmed with com-
missions. As a teacher, he was very successful.
His studio at the Ecole des Beaux Arts was one of
the most frequented, and he turned out artists of
such widely diverse gifts as Benjamin Constant,
Bastien-Lepage, Albert Besnard, Aim^ Morot,
Fernand Cormon, and Henri Gervex, besides many
others. Though himself faithful to the traditions of
Cogniet, Ingres, and Abel de Pujol, Cabanel showed
great liberality in his relations with his pupils,
never seeking to impose his own style upon them,
but endeavouring to develop the individual bent
of each. In 1863 Cabanel succeeded Horace Vemet
as a member of the Institute. He was also a member
of a long list of foreign academies, and won a large
share of official honours. He died in Paris, January
22, 1889, and was buried at his native Montpellier.
CALDECOTT, Randolph, was the son of an
accountant at Chester, and was born in that city,
March 22, 1846. He was educated at the King's
School, Chester, and in his boyish days seems to
have shown the bent of his genius in drawings,
sketches, and models of animals cut in wood. At
the age of fifteen he became a clerk in the
Whitchurch Bank, Shropshire, living in an old
farm-house near the town, and in this country
atmosphere gathered up a store of impressions at
such scenes as meets, fairs, and markets, that later
yielded rich fruit. He remained at Whitchurch
for six years, and was then transferred to the
Manchester and SaHord Bank at Manchester,
where he worked steadily at his duties for five
years, meanwhile devoting all his spare time to
evening studies in the Manchester Art School, and
in summer weather to open-air sketching. In 1868
his first published drawings appeared in a local
paper called ' Will o' the Wisp,' to be followed the
next year by some contributions to another paper,
' The Sphinx.' At the same time he was painting
a little for friends, chiefly hunting subjects, and
in 1869 he exhibited a picture at the Manchester
Royal Institution. His artistic gifts now appeared
so unquestionable, that in 1870, acting on the advice
of some friends, he went to London with a letter
of introduction to Mr. Thomas Armstrong of the
South Kensington Museum, who throughout his
career consistently befriended him. Some drawings
of Caldecott's were submitted to Shirley Brooks, and
to Mark Lemon, then editor of ' Punch,' also to Mr.
Henry Blackburn, who was on the staff of ' London
Society,' with the result that the young man
became one of the regular contributors to that
journal. His water-colours and small oil-pictures
also began to ha ve a wider sale, and thus encouraged,
he determined to give up his situation in the bank,
and to devote himself to art. He came to London
early in 1872, and worked for a time in the life
class of the Slade School, under Mr. Poynter.
In June of the same year his first drawing for
' Punch ' was published. It was the beginning of
a long series of work for London illustrated papers
such as the 'Graphic,' the 'Pictorial World,' and
the American ' Daily Graphic." In the illustration
of books, Caldecott made his first essay in August,
1872, when he accompanied Mr. Blackburn to the
Harz district, and executed a number of whimsical
drawings for a book of summer travels by the
latter, ' The Harz Mountains, a Tour in the Toy
Country.' In 1873 he went to the Vienna EShibition,
to make drawings for the ' Daily Graphic' Later
in the year he worked in M. Jules Dalou's studio at
757
Calvert
SUPPLEMENT,
Colas
Chelsea, tlie sculptor having made a compact with
Caldeoott, who was to teach him English, while
he helped the novice with the clay. In 1876
Caldeoott exhibited an oil picture at the Royal
Academy, ' There were Three Ravens sat on a
Tree,' and a metal bas-relief, 'Horse Fair in
Brittany ; ' but towards the close of the year he
began to show symptoms of failing health, and
was obliged to winter in the South, whence he
Drought home innumerable sketches, and there
he made the drawings illustrating Mrs. Comyns
Carr's 'North Italian Polk.' In 1878 he agreed
with Mr. Edmund Evans to illustrate some books
for children, to be printed in colour. Of these
the following is a complete list, with dates of
publication : ' The House that Jack Built ' and
'John Gilpin,' 1878; 'Elegy on a Mad Dog'
and 'Babes in the Wood,' 1879; 'Three Jovial
Huntsmen' and ' Sing a Song of Sixpence,' 1880 ;
'Queen of Hearts' and 'Farmer's Boy,' 1881;
'The Milkmaid' and ' Hey-diddle-diddle,' 1882;
'The Fox jumps over the Parson's Gate' and
' A Frog he would a-wooing go,' 1883 ; ' Come,
Lasses and Lads ' and ' Ride a Cook Horse to
Banbury Cross,' 1884; 'Mrs. Mary Blaize' and
' The Great Panjandrum,' 1886. Of books illustrated
in black and white we may mention Washington
Irving's 'Old Christmas,' 1875; and ' Braoebridge
Hall,' 1876; ' iEsop's Fables with Modern In-
stances,' 1883 ; also illustrations for several of
Mrs. Swing's books, notably 'Jackanapes' and
' Lob-lie-by-the-Fire.' Various tours in Brittany
in company with Mr. Henry Blackburn were com-
memorated by drawings and terra-cotta studies of
Breton life. For many years Caldeoott suffered
from heart complaint, the result of rheumatic fever,
and in the winter of 1885-6 he was advised to winter
in Florida. He accordingly sailed with his wife
for the United States. The season, unhappily,
proved abnormally severe. He reached St. Augus-
tine's, Florida, but only to die, February 12, 1886.
His last work was part of a series of ' American
Facts and Fancies ' drawn for the ' Daily Graphic'
CALVERT, Edward, painter and draughtsman,
was born in Cornwall about 1803. His father was
a naval officer, and he himself served for a time as
a midshipman. He studied painting under a west
country artist named Johns, married at an early
age, and, coming to London, entered the Royal
Academy Schools. He began work in the capital
as an illustrative draughtsman upon wood. His
diffidence led him to constantly destroy his blocks
and plates, so that impressions from them are very
scarce. His admiration for Greek art led him to
visit Greece, whence he brought back many studies.
A worshipper of Blake, whose acquaintance he had
made in his youth, he became the intimate friend of
John Linnell, and of his son-in-law, Samuel Palmer.
He died on the 14th July, 1883. Among his prints
the most remarkable are perhaps the ' Christian
ploughing the Last Furrow of Life,' and the ' Cider
Press,' both strongly reminiscent of Blake.
CAMPBELL, Chaules William, an English
engraver in mezzotint, was born at Tottenham,
July 13, 1855. In 1870 he entered the office of his
father, an architect and surveyor, and stayed there
until 1878. In the meanwhile he studied Ruskin
and practised drawing so far as his means and
leisure would allow him. Finally he was intrusted
by Mr. Burne-Jones with his picture of the ' Birth
of Galatea,' to be scraped in mezzotint. The plate
was published early in 1886, and was followed by
768
an ' Ophelia,' from his own design, and ' Pan and
Psyche,' again after Burne-Jones. All three were
pure mezzotint, without adulteration by any other
process. Campbell also scraped a mezzotint of
Miss Ellen Terry from life, and at his premature
death, which occurred on May 31, 1887, left the
following plates in various stages of completion :
The Annunciation ; after E. Burne-Jones.
The Virgin among Eocks ; after Leajmrdo da Vinci,
Portrait of Cardinal Newman ; after G. F. Watts.
' Ariosto ' ; after the portrait iy Palma formerly so
called and ascribed to Titian, in the National Gallery.
After Strong Seas ; from his own design.
CANON, Hans, (or Johann von Steaschiripka,)
a German painter, of Polish descent, was bom in
1829. In 1853 he dropped his unpronounceable
Polish name for that by which he was afterwards
known. He began life in the army, but in 1863
studied under Rahl, and subsequently worked in
Paris under Delaroohe and Horace Vernet. He
first attracted attention as a satirico-poKtioal
draughtsman, then as a painter of portraits and
military subjects. He eventually took to historical
painting on an enormous scale, and in a preposter-
ously exaggerated style. He lived successively at
Carlsruhe, and at Vienna, where he was a prominent
figure in art circles, and where he died in 1885.
A typical example of his art is in the Natural
History Museum at Vienna.
CASEY, Daniel, a French historical painter, was
a pupil of Wappers, in whose atelier at Antwerp
he was a fellow-student with Mr. Ford Madox
Brown. He first exhibited at the Salon of 1842,
when he contributed a ' St. Louis in the Desert,
near Damietta,' which was bought by the Govern-
ment, and is now in the Bordeaux Museum. He
exhibited constantly in Paris and Belgium, and
became known as a powerful painter of ambitious
themes, excelling especially in his rendering of
horses. Casey died in Paris, December 27, 1886.
CATHELINAUX, Chbistophe, a French painter
of dogs and other animals, born at Warcq (Meuse)
in 1819, was a pupil of Drolling, and entered the
liicole des Beaux Arts in 1839. He exhibited at
the Salon from 1857 onwards. He died in 1883.
CLEMENT, P^Lix Atjudste, was born at Dou-
zlre, DrSme, in 1826. He was a pupil of Drolling
and Picot, and obtained the first prix de Rome in
1856. He settled in Cairo, and contributed pictures
of Oriental subjects to the Salon. Later in life he
painted French landscapes and some portraits.
He died in 1888.
CLINT, Alfred, painter, bom in 1807, was the
son and pupil of George Clint, A.R.A. He first
appeared at the Academy in 1829, vsdth ' A Study
from Nature,' and several of his later works were
exhibited with that body. He contributed more
frequently, however, to the shows of the British
Artists, of which society he became a member in
1843, secretary in 1858, and president in 1870. He
painted a few portraits early in his career, but his
popularity rested chiefly on his landscapes and
coast studies. In 1849 he published a 'Guide to
Oil Painting.' He died in 1883.
COLAS, Alphonse, a French historical and por-
trait painter, was born at Lille in 1818, and studied
under Souohon at the school of his native town.
He first attracted attention by a. large canvas at
the Salon of 1849, representing the ' Raising of the
Cross.' He was much employed as a decorative
painter in French churches, a good specimen of his
work in this genre being his paintings in
Cole
SUPPLEMENT.
Crawford
in the cupola of the Eglise de Notre Dame at
Eouhaix. He held the post of director of the art
school of Lille, where he died in 1887. His por-
trait of Souohon is in the Lille Museum.
COLE, Geokqe, painter, was born in 1808. He
was entirely self-taught, and began life at Ports-
mouth as a painter of portraits and animals. He
finally, however, devoted himself to landscape, and
settled in London. He first exhibited in 1840, and
was afterwards a pretty constant contributor to the
Old British Institution, and, later, to the Suffolk
Street Exhibitions. He died September 7, 1883.
COLLIER. See above, Monkswell.
COLLIER, Marian, an English amateur painter,
was the daughter of Professor Huxley. In 1879
she married Mr. John Collier. She painted figure
pictures, and occasionally exhibited at the Academy
and the Grosvenor Gallery. She died November
18, 1887.
CORBAUX, Fanny, water-colour painter, was
bom in 1812. In 1827, after being self-taught, she
gained the silver medal of the Society of Arts, and
in 1830 the gold medal. She was the same year
elected an honorary member of the Society of
British Artists, and in 1839 a member of the
Institute of Painters in Water-Colours. She was
further known as a student of and writer on
Oriental subjects and biblical exegesis, and was
granted a Civil List pension. She died at Brighton,
February 1, 1883.
COT, PlEEBE AtTQTJSTE, painter, bom at Bddarieux
(Herault) February 17, 1837, was a pupil of Buret
and of L6on Cogniet. He painted mythological
subjects, and also enjoyed a considerable reputation
for his portraits. He died in July, 1883.
COUSINS, Hbnby, the brother of Samuel Cousins,
was also an engraver, and practised in London.
He engraved many portraits in mezzotint, and
some other plates ; among them ' Refreshment,'
after Landseer ; ' Prayer,' after Sant ; ' The Infant
Shakespeare,' after Romney ; and ' Home of the
Homeless,' after T. Faed. He died at Dorking in
1864.
COUSINS, Samhel, mezzotint engraver, was
born at Exeter, May 9, 1801, and received his
early education in his native city. He is said to
have astonished his friends while still a child by
the truth and spirit of the portraits he was con-
stantly drawing in pencil. At the age of eleven
he gained a silver palette from the Society of Arts
for a pencil copy of James Heath's plate of the
_' Good Shepherd,' after Murillo, and in the follow-
ing year won the Society's silver medal. His vo-
cation was determined by a chance meeting with
the late Sir Thomas Dyke Acland, who saw the
boy sketching outside a printseller's window in
Exeter. Recognizing the precocious talent of the
copyist, he helped him to London, where he was
apprenticed to S. W. Reynolds. After working as
an apprentice for seven years. Cousins remained
with Reynolds four years as assistant, and a
few plates of this date bear the joint signature
of master and pupil. Cousins' first independent
work was a commission from Sir T. Dyke Acland
for a plate after Lawrence's group of Lady Acland
and her children. Lawrence was so pleased with
the result that he wished to engage the young en-
graver to work exclusively for him. This, how-
ever, Cousins would not agree to. He, however,
undertook a second plate after Lawrence, the
famous ' Master Lambton,' which at once secured
his reputation. In 1835 he was elected associate
engraver of the Royal Academy, and in 1855 a
Royal Academician. About 1872, being then over
seventy years old. Cousins determined to retire
from his profession. After a short terra of idleness,
however, he again took up the graver, and to this
late period of his life belong such masterpieces as
the 'Age of Innocence,' 'Penelope Boothby,' ' Sim-
plicity,' and other plates after Sir Joshua, 'Miss
Rich,| after Hogarth, and 'Cherry Ripe,' after
Millais. During his long career he had amassed a
fortune much in excess of his modest needs, and
about ten years before his death he made a generous
donation of £15,000 to the Royal Academy, to be
used as a fund for pensioning destitute artists.
In 1880 he retired from the Academy. He died in
London, May 7, 1887. Some years before he had
presented to the British Museum a (then) complete
set of impressions from his plates, containing some
very rare states. His <euvre consists in all of
about two hundred plates, of which the following
are famous examples :
Prince Metternich ; after Lawrence. 1827.
Pius VII. ; after the same.
Duke of "Wellington ; after the same. 1828.
Sir Astley Cooper ; after the same.
Lady Grey and Children ; after the same.
Miss Peel ; after the same.
Lady Grosvenor ; after the same.
WiUiam Wilberforce ; after the same.
Bolton Abbey ; after landseer.
The Abercorn Family ; after the same.
The Queen ; after the same.
Eeturn from Hawking ; after the same.
The Queen receiving the Sacrament ; after the same.
Christ weeping over Jerusalem ; after Sir C. Eaatlake.
Shakespeare, after the Chandos portrait.
The Order of Eelease ; after Millais.
The Minuet ; after the same.
Yes or No ? after the same.
Yes ! after the same.
No ! after the same.
' Pomona ; after the same.
Marie Antoinette in the Temple ; after E. M. Ward.
Miss Bowles ; after Reyiwlis. 1874.
Lady C. Montagu ; after the same.
Sylvia ; after the same.
Hon. Anne Bingham ; after the same.
Lavinia ; after the same.
Princess Sophia of Gloucester ; after the same.
Duchess of Butlajid ; after the same.
Countess Spencer ; after the same.
COX, David, the younger, the only child of
David Cox the elder, was born at Dulwich in 1808.
He was a pupil and imitator of his father. Though
a good master, and socially a well-known figure,
he never attained to much reputation as an artist.
In 1849 he was elected an Associate Exhibitor of
the Society of Painters in Water-Colours. He died
December 4, 1885.
CRAWFORD, Edmund Thornton, a Scottish
landscape painter, was born at Cowden, near
Dalkeith, in 1806. His father was a land surveyor,
and Crawford was apprenticed when a boy to a
house-painter in Edinburgh. Shortly afterwards,
however, his indentures were cancelled, and he
entered the Trustees' Academy, then under Andrew
Wilson. In 1833 he paid the first of several visits
to Holland. In 1839 he was elected an associate,
and in 1848 a full member of the Scottish Academy.
He died at Lasswade on September 29, 1885.
His art was closely akin to that of Thomson of
Duddingston. Works :
Bdiuburgh. S. Nat. Gall. Group of Trees.
„ „ Coast scene, North Berwick.
„ „ Close hauled, crossing the Bar.
759
Czerny
SUPPLEMENT.
Boo
CZERNY, LtJDOVlc, an Austrian painter, and
professor of the Academy, died at Vienna in
January, 1889, aged sixty-nine.
DANBY, Thomas, marine painter, was the son
of Francis Danby, A.R.A., and was born in Ireland,
but spent his early youth chiefly at Bristol, where
his father practised and taught drawing. He first
exhibited in London in 1841, when he sent a small
oil picture, 'The Wreck,' to the British Institution,
and in 1843 he appeared at the Royal Academy
with an illustration of one of Wordsworth's poems.
He was elected an associate of the Society of
Painters in Water-Colours in 1867, and became a
full member in 1870. He died March 26, 1886.
DANIELS, William, painter, born about 1812,
was the son of a brickmaker at Liverpool, and first
showed his artistic talent by modelling figures in
clay. He studied drawing at the Liyerpool Insti-
tution, and was then apprenticed to an engraver on
wood, painting portraits and effects of chiaroscuro
in his leisure. At the close of his apprenticeship
he set up as a painter in his native town, and
might have risen to eminence in his art but for his
fondness for drink and for jovial company. He
died in Liverpool, October 13th, 1880. There are
five portraits by him in the South Kensington'
Museum, among them those of George Stephenson,
and Charles Kean as Hamlet. See ' Magazine of
Art,' June, 1882.
DARBY, Matthew, engraver and caricaturist,
practised in London and at Bath in the second half
of the 18th century. He kept a shop in the Strand
for the sale of artists' materials, and advertised
himself as a teacher of engraving. Anthony
Pasquin was one of his pupils. He also published
comic drawings, among them some of H. W. Bun-
bury's early works, and a series of ' Caricatures ' by
various hands. He himself is said to have produced
about three hundred caricatures.
DAUBIGNY, Karl Pierre, the son of the
famous landscape painter, was a pupil and imitator
of his father, and painted the same class of subjects.
Born in Paris in 1846, he gained medals in 1868
and 1874, and died in May, 1886.
DE BRABKELEER, Eerdinandus, historical
painter, was born at Antwerp in 1792. He was the
son of Jean Ferdinand Joseph de Braekeleer and
of Jeanne Bernardino Antoinette Seghers. He
studied at the Antwerp Academy, and under M.
J. van Bree. In 1819 he won the grand prize of
the Academy, with the pension for Rome. He
spent three years in Italy, painting historical
pictures (' Healing of Tobias,' ' Esau and Isaac ')
in the manner of David. After his return to
Antwerp he perfected a manner of his own, in
which he painted genre subjects, scenes from
Belgian history, &c. He died in 1883, at Antwerp.
Among his pupils were Leys, Jacobs, De Block,
and others. Pictures by him are in the Galleries
of Antwerp, Berlin, and Munich.
DE BRAEKELEER, Fbrdinandus, son of the
last named, was born at Antwerp in 1829, and had
shown some promise as a genre painter, when he
died at the age of twenty-eight, in 1857. Another
brother, Henri, born in 1840 at Antwerp, was a
painter of genre, and died in 1888.
DE KEYSER, Nicaise, a Flemish painter, was
born at Santvliet, near Antwerp, in 1813. He was
a pupil of J. Jacops and of Van Brde, and distin-
guished himself by his battle-pieces, &c., in the
manner of Wappers and the reactionaries of 1830.
760
In 1855 he became director of the Academy of
Antwerp. He died in 1887.
DEL LUPINO. See above, LniNl.
DEMARNB, Jean Louis De Marnbtte, painter
and etcher, bom in Brussels in 1754, was the son
of a Belgian officer, and of his wife, the Baroness
Ansohiitz. When only twelve years old, he was
sent to Paris, and studied in the atelier of Gabriel
Briard. He became a successful painter of land-
scapes with figures or cattle, in the manner of
Berchera and Karel Dujardin. He also etched thirty-
eight plates of similar subjects. He practised in
Paris, making occasional journeys in Switzerland.
In 1783 he became a member of the Acad^mie des
Beaux Arts. He was long employed as painter to
the Sevres porcelain factory. He died at Batig-
nolles in 1829. In the Hermitage at Petersburg
there are five of his pictures, and several were in the
San Donato Collection at Florence.
DE MOMPER. See above, Mompek.
DEROCHE, Victor, a French landscape painter
of some note, was bom at Lyons in 1824 (?). He
was aj frequent exhibitor at the Salon of pictures
illustrating the beauties of the Seine, and generally
somewhat- melancholy in sentiment. He lived for
many years at Montigny, near Vemon-sur-Seine,
and died in 1886.
DBSSURNE, Mark, painter, born in 1825, was
a student and frequent exhibitor at the Royal
Academy. He also contributed to the Suffolk
Street and British Institution galleries between
1840 and 1870, and held an art mastership in
connection with the Glasgow school of design for
many years. He died May 4, 1885.
DICEY, Frank, an English painter of portraits,
and of genre subjects of a somewhat ambitious
class, exhibited at the Academy and with the
British Artists between 1865 and 1880. A portrait
by him of the Prince of Wales was engraved by
Scott. Dicey died in May, 1888.
DONALD, John Milne, a Scottish landscape
painter, was bom at Nairn in 1819. His parents
settled at Glasgow shortly after his birth, and he
was educated and received his first art teaching
in that city. In 1840 he visited Paris, and then
London, where he remained until 1844. In London
he made the acquaintance of Samuel Rogers, who
encouraged him and gave him commissions for
two pictures. In 1844 he established himself at
Glasgow, where he worked till his death in 1866.
His pictures failed to attract much notice in his
lifetime, and sold for small prices. Like many of
his contemporaries, he was glad occasionally to
paint panels for ships built on the Clyde. Of late
years many of these have been transferred to
canvas, and sold for considerable sums. His land-
scapes usually represent distant mountains with
foregrounds of pasture land and flocks of sheep.
They are chiefly to be found in small private
collections in Glasgow and its neighbourhood;
DOO, George Thomas, an English engraver,
was born in January, 1800. He studied under
Charles Heath, and published his first plate, a
portrait of the Duke of York, after Lawrence, in
1824. In 1825 he visited Paris, and spent some
time in the ateliers of the French engravers. On
his return to London he opened a school in the
Savoy, for study both from the life and from the
antique. He also lectured upon painting. In 1836
he was appointed engraver in ordinary to William
IV., and in 1842 to Queen Victoria. In 1866 he was
elected an associate of the Royal Academy, and ia
Dove
SUPPLEMENT.
Fahey
1857 a full member. In 1861 Doo became presi-
dent of the Artists' Annuity Eund, and in 1863
he was a witness before the Eoyal Academy Com-
mission at Westminster. He died at Sutton,
Surrey, November 13, 1886. Among his best plates
are:
The Infant Christ ; after Saphael.
' Ecce Homo ; ' after Correggio.
The Combat ; after Etty.
John Knox preaching ; after TVilkie.
Pilgrims in sight of Home ; after Eastlake.
The Raising of Lazarus ; after Seb. del Fiomho.
St. Augustine and St. Monica ; after Ary Scheff»r.
Torick and the Grisette ; after Newton.
' Gevartius ' (Cornelius van der Geest) ; after Vandyeh.
The Calmady Children ; after Lawrence.
Six plates for the ' Elgin Marbles,' published by the
trustees of the British Museum.
Several plates in Jones's ' Natioual Gallery.'
DOVE, Thomas, marine painter, began life as a
house-painter, but later entered the studio of
George Chambers, with whom he worked for some
time. His pictures were chiefly scenes from
Liverpool or its neighbourhood, and he became
well known in the north of England. Reduced to
poverty in his old age, he died in the Whitby
Workhouse, in January, 1887.
DOYLE, RioHAED, draughtsman and caricaturist,
was born in London, September, 1824. He was
the second son of John Doyle (H. B.), who taught
him from early childhood, and to such purpose
that at the age of sixteen the boy was already an
accomplished draughtsman. A remarkable speci-
men of his early powers is preserved in the British
Museum. It is a MS. journal, illustrated with a
large number of humorous and fanciful sketches.
(This work was published in facsimile by Smith,
Elder and Co., in 1885.) Other productions of
about the same date were, 'The Eglinton Tourna-
ment,' and ' A Grand Historical, Allegorical, and
Classical Procession.' In 1843, two years after the
establishment of 'Punch,' Doyle, then nineteen
years old, was permanently engaged on the staff.
He soon attracted attention by bis cartoons of lead-
ing statesmen, and later by a series of humorous
designs called ' Manners and Customs of ye Eng-
lyshe, drawn from ye Quick by Richard Doyle.'
Akin to these were the 'Bird's-eye Views of Society,'
contributed to the ' Cornhill Magazine.' One of his
happiest contributions to 'Punch' was the now
familiar cover. Besides work of this importance,
Doyle further contributed to ' Punch ' innumerable
small drawings, initials, and culs de lampe. His
connection with the periodical came to an end in
1850, when conscientious scruples caused him to
resign his post. A sincere Roman Catholic, he
felt it unseemly to associate himself with attacks
directed against Papal aggression. Henceforward
he worked as an illustrator of books, and as a
painter in water-colours. His original drawings
were chiefly of Welsh and Devon scenery, into
which he loved to introduce gracefully fantastic
figures of fairies, gnomes, and pixies. Among such
the most important examples are :
The Triumphant Entry, a Fairy Pageant. (Nat. Gal.
Ireland.)
The Witch's Home. [Two drawings.)
The Manners and Customs of Monkeys. {Both in the
South Kensington Museum.)
Doyle was seized with apoplexy at the Athenaeum
Club, December 10, 1883, and died on the next
day. Among the books illustrated by him are :
Thackeray's ' Rebecca and Eowena.' 1850.
Euskin's ' King of the Golden Elver.' 1851.
' The Foreign Tour of Brown, Jones, and Eobinson.'
1854. (Begun in 'Punch.')
Thackeray's ' Newcomes.' 1853-5.
'In Fairy Land.' Elfin scenes, with verses by Mr.
William AUingbam. 1870.
Dickens' ' Battle of Life.'
Leigh Hunt's ' Jar of Honey from Mount Hybla.'
A number of his miscellaneous sketches are pre-
served in the British Museum, and in the Fitz-
william Museum at Cambridge.
DREUX, Alfred de, was born in Paris in 1808.
He was a pupil of L^on Cogniet, and became a
fashionable painter of race-horses and of equestrian
portraits. Many of his pictures have been engraved.
Among the best known are: 'The Postilion'
(1836), 'The Imperial Guard' (1855), 'Equestrian
Portrait of the Duo de Nemours' (1844), and several
large hunting-pieces. He died in 1860.
DUVAL, Amauey, painter, was born at Mont-
rouge, Paris, in 1808. In 1826 he entered the
atelier of Ingres, and afterwards travelled in
Greece, where he made nutnerous studies and
sketches. In 1834 he exhibited at the Salon hia
' Greek Shepherd discovering a Bas-relief,' and
soon became favourably known as an able exponent
of his master's traditions. His portrait of ' Rachel
as the Tragic Muse,' contributed to the Exhibition
of 1856, attracted considerable attention. He
painted various pictures for Parisian churches,
and executed some decorations in St. Germain
I'Auxerrois. He died in December, 1885.
DUVAUX, Jules Antoine, painter and etcher,
born at Bordeaux in 1818, was a pupil of Charlet,
and a painter of battles and military subjects
generally. Several of his pictures are in the Ver-
sailles Museum. He also worked much as an
illustrative draughtsman and etcher for various
publications. He died in 1884.
DYCKMANS, Josef Laueens, a Flemish painter,
was born at Lierre in 1811. He was a pupil of
Tielemans and Wappers. He painted genre pic-
tures, portraits in small, &c., in a style of the
minutest finish. He was Professor in the Antwerp
Academy, and died in 1888. Pictures :
The Blind Beggar. {National Galleri/.)
Portrait Group. (South Kensington Museum.)
EBERT, Kael, landscape painter, was born at
Stuttgart in 1821, and studied there under Stein-
kopf, as well as at Munich. He died in 1885. In
the Stuttgart Gallery there are two pictures by
him.
FAHEY, James, painter, was born at Paddington,
April 16, 1804. He was intended for an engraver,
and studied for a time under Swaine, who was his
uncle. He afterwards worked in Munich and
Paris, where he was employed as a surgical
draughtsman. He exhibited a portrait at the
Academy in 1825, but shortly afterwards devoted
himself to landscape in water-colours. In 1834 he
joined the short-lived Associated Painters in Water-
Colours, and in the following year he, with other
leading members of that body, formed the ' New
Society,' now the Institute of Painters in Water-
Colours. He was for more than forty years
secretary to the society. In 1856 he was appointed
drawing-master at Merchant Taylors' School,
whence, after twenty-seven years, he retired on a
pension. He died December 19, 1'885.
761
Faure
SUPPLEMENT.
FrSre
PAURE, Tito's, a French painter, and pupil of
Eugene Delacroix, was a native of Toulouse. His
first contribution to the Salon was a picture called
'L'Ofirrande,' exhibited in 1857. He was for many
years Professor at the Art School of his native
town, where he died in 1887.
FAVRETTO, Giacomo, painter, was bom at
Venice in 1849. He was one of the ablest of the
little knot of Venetian painters whose practice is
founded more or less on the water-colours of Lud-
wig Passini. His pictures are generally market-
scenes, and are notable for the skill with which
positive greens are employed. Towards the end
of his life his works became popular in London.
The best perhaps is ' A Clothes Market in Venice.'
He died at Venice in 1887.
PEYEN-PERRIN, FBAugois Nicolas Augustin,
painter, was born in 1829 at Bey-sur-Seille (Meurthe
et Moselle). As a child he displayed a precocious
artistic gift, and after a short period of study at
Nancy, he entered the Ecole des Beaux Arts in
Paris, and became the pupil of Cogniet and of
Yvon. His first works were scenes for the Thefitre
Italien ; he then devoted himself to history, but his
narrow means forced him to turn his attention to
portraiture and studies of peasant life, in which he
achieved great excellence. His best works are
perhaps his ' Return from Oyster Fishing ' (in the
Luxembourg), 'La Vanneuse' (painted 1867), 'Les
Cancalaises,' ' The Road to the Market,' a portrait
of M. Alphonse Daudet, and a ' Death of Orpheus.'
He was also an etcher of some ability. He died in
1888.
FISK, William Henry, painter, was the son and
pupil of William Fisk, and was born about 1825.
He studied at the Royal Academy schools, and was
appointed anatomical draughtsman to the Royal
College of Surgeons. He continued at the same
time to practise painting, and many of his pictures
were exhibited at the Academy, the British Institu-
tion, the Suffolk Street Q-allery, and in Paris. He
also contributed numerous essays and articles on
art subjects to current literature, and lectured both
in London and the provinces. His artistic powers
were very considerable, but he was best known as
a careful and able teacher, in which capacity he
worked for forty years at University College
School, London. He died at Hampstead, Novem-
ber 13, 1884.
FORSTER, Eenst Joachim, painter and writer
upon art, was born in 1800, at Munchergosserstadt,
on the Saale. After a stay at the Universities of.
Jena and Berlin he took up art as his career, and
studied under Sohadow at Berlin, and under Corne-
lius at Munich. In 1824-5 he was working under
Hermann on the frescoes in the Aula at Bonn,
and was afterwards employed on those in the
arcades of the Munich Hofgarten. He married
a daughter of Jean Paul Richter, and this con-
nection led him again in the direction of literature.
After the death of his father-in-law he pubKshed
several biographical notices of him, and edited his
literary remains. He was employed in 1832 by
the then Crown Prince Max, of Bavaria, to visit
Italy, and make a series of drawings from the
antique, and his archasological researches in con-
nection with this work were afterwards embodied
in his 'Material for a new History of Art' (1835).
He also carried out various decorative works in
the new palace at Munich. Of his numerous
literary productions in connection with art the most
important are : ' A History of German Art ' (1851-
762
60) ; ' Monuments of German Architecture, Sculp-
ture and Painting' (1853-69) ; 'Life of Raphael'
(1867-69); 'History of Italian Art' (1869-75).
He published the continuation of Schorn's German
version of Vasari, and was joint editor vnth Kugler
of the 'Kunstblatt' from 1842-49. He died in
1885.
FRANCOIS, Alphonse, one of the most famous
of modern French engravers, was born in Paris in
1811. Left an orphan in his childhood, he was
early thrown on his own resources, and began life
as a goldsmith's engraver. His skill and industry
soon insured him a modest livelihood in Paris, but,
oppressed by the mechanical drudgery of his craft,
he turned his thoughts to music, and was even
engaged for a time in the orchestra of the Con-
servatoire concerts. He next tried the stage, and
was fond, in after life, of describing a memorable
occasion on which he played with Rachel. Through
his elder brother, Jules, he was introduced at the
mature age of twenty-six to Henriquel-Dupont, the
engraver. Henriquel received him kindly, and
agreed to let him work in his atelier. Though
absolutely ignorant even of the elements of draw-
ing, Fran9ois set to work, confident of success.
It happened during the first year of his apprentice-
ship that he saw a portrait of Titian at the house
of the well-known collector, M. Chaix d'Est-Ange,
and asked leave to make a drawing of it. To the
amazement df Henriquel, he then announced his
intention of engraving it. The result was extra-
ordinarily successful for a first efEort. With each
fresh undertaking his powers developed. His plates
began to attract attention at the Salon, where he
first exhibited in 1842, and Paul Delaroche per-
suaded Messrs. Goupil to intrust one of his own
pictures to the debutant, the 'Napoleon crossing
the Alps.' This was followed by numerous com-
missions from the same firm, and by plates after
Fra Angelico's ' Coronation of the Virgin,' and
Cabanel's ' Birth of Venus,' for the Chalcographie
du Louvre. Henceforth commissions poured in on
him, and the story of his later years is one of
uneventful prosperity, up to the time of his loss
of sight. Debarred by this calamity from the work
in wliich he delighted, his health and spirits alike
gave way, and he died in Paris, July 6, 1888.
Among his later undertakings was a commission
from the directors of the Dor6 Gallery, in London,
to reproduce the pictnres-in their exhibition. This
long and laborious work was carried out with the
help of pupils and assistants, the plates being
finally worked over by Franfois himself. Of his
finer plates after other masters we may also name:
The Mystic Marriage of St. Catherine ; after Memlinc.
The Virgin ou the Steps ; after Titian.
Marie Antoinette leaving the Eevolutionary Tribunal ;
after Delaroche.
The Youth of Pico de la Mirandola ; after the same.
Psyche ; after Jules Lefebvre.
FREEMAN, James Edward, painter, was a
native of Nova Scotia, but was educated in the
National Academy in New York. He settled in
Rome, where he painted genre pictures, mostly of
Italian subjects. He is known also by his publica-
tion, ' A Portfolio of Italian Sketches.' He died in
1884.
FRERE, Charles ThiSodorb, (Bey,) painter, was
born in Paris in 1815. He was a pupil of Roque-
plan and L^on Cogniet, and made his debvi at
the Salon in 1834 with landscapes from Northern
France. Two years later he went to Algiers, and
FrSre
SUPPLEMENT.
Baglie
afterwards spent some time in Africa, whence he
drew his subjects for the rest of his life. He died
in Paris, March 24, 1888.
FR:feRE, PiEBBE Edodaed, a French genre painter,
was born in Paris, January 10, 1819. He studied
under Delaroche, and made his dibut at the Salon of
1843. His early pictures were chiefly interiors of
cottages, workshops, &c., with cobblers, coopers,
cooks, and other industrious members of the lower
classes at work. They were warm and transparent
in colour, and often forcible in chiaroscuro. In
later years he almost entirely confined himself to
painting incidents of child life, and became cold in
colour and feeble in his light and shade. He
produced a great number of drawings in which
coloured figures are set against monochrome back-
grounds, generally sketched in black chalk. His
works are well known in England, where he
frequently exhibited, first at the French Gallery in
1854. His first picture in the Eoyal Academy was
one of his most characteristic works, the ' Girls
leaving School.' Frire lived at Bcouen, and died
there. May 23, 1886.
6A1LLARD, Claude Ferdinand, engraver and
painter, was born in Paris, January 7, 1834. He
entered the fioole des Beaux Arts in 1850, and
worked under L^on Cogniet. He won the Prix
de Rome as an engraver in 1856, and from 1863
onwards was a constant contributor to the Salon,
of portraits, classical and sacred ■ subjects, both
painted and engraved. He executed several im-
portant commissions for the Chalcographie du
Louvre, among them the reproduction of Leonardo's
' Monna Lisa ' and ' Last Supper,' and engraved a
number of plates for the ' Gazette des Beaux Arts.'
His plates were principally after the old masters,
but he also engraved occasionally from his own
pictures, and those of other modern painters. His
style, both with paint-brush and burin, was a
marvel of accurate minuteness. Several of his
works are in the Luxembourg. He died in January,
1887.
GALLAIT, Louis, painter, was born at Tournay
in 1810, and was educated in his native town. He
showed his artistic talent at a very early age, and
gained a prize from the Ghent Academy while
still a boy. The municipal authorities of Tournay
bought one of his early performances, a ' Christ
restoring sight to the Blind Man,' and presented
it to the cathedral. The city further granted him
a sum of money in 1835, which enabled him to
study in Paris, under Hennequin. Henceforth his
career was one of assured success. His ambitious
and melodramatic pictures were received with
great favour by the public, though condemned by
artists and connoisseurs. His art had much in
common with that of his contemporary, Scheffer,
with whom he was often compared, though Gallait
was a very much more accomplished craftsman
than the Franco-Dutch painter. He gained a long
list of honours, prizes, and distinctions both at home
and abroad, was a member of the Institute of
Prance, and an honorary foreign Eoyal Academi-
cian. Several of his pictures were at the Inter-
national Exhibition of 1862. He died November
20, 1887.
6AUCHEREL, LiON, engraver, etcher, _ and
painter in water-colours, was born in Paris in
1816. He was a pupil of Viollet le Due, with
whom he travelled in Italy and Sicily. He was a
constant exhibitor at the Salon, where he gained
numerous official honours from 1853 onwards. Ho
etched many plates for the 'Gazette des Beaux
Arts,' for ' L'Art,' the ' Portfolio,' and other pub-
lications. He died in Paris in 1885.
GBYERj Alexius, landscape painter, was born
at Berlin in 1826, and studied in the academies
of Berlin, Munich, and Dresden. He worked for
some years in Rome and Paris, and was patronized
by King Otho of Greece. He painted a num-
ber of large water-colours for the Archasological
Museum at Berlin, and also worked for King
Frederick William IV. of Prussia. He died in
1883.
GILL, Ande^, a French painter and political
caricaturist, was bom in October, 1840. He studied
under Leloir, and at the Acaddmie des Beaux Arts.
He exhibited a few portraits, &c. at the Salon, but
was best known by his caricatures of notabilities
under the second empire. He became insane about
five years before his death, which took place in
1885.
GILLIES, Miss Maesaeet, the daughter of a
Scotch merchant settled in London, and niece of
Lord Gillies the judge, was born in Tbrogmorton
Street in 1803. Her father having lost his fortune,
she lived as a girl under the care of her uncle in
Edinburgh, where she enjoyed the society of some
of the most notable men of the day, among them
Scott, Brskine, and Jeffrey. Determined, however,
to earn an honourable livelihood for herself, she
resolved to become an artist, and went to Paris to
study, where she made the acquaintance of the
Soheifers, and worked more or less under their
direction. She made her (Mmt as a painter of
miniatures, and afterwards devoted herself to water-
colour drawings of domestic or romantic subjects.
In 1852 she was elected an associate of the Water-
Colour Society, of which she was the first lady
member. With that body she was a constant
exhibitor, contributing down to the year before her
death, which took place at her house at Hampstead
in the spring of 1888.
GODDARD, Bouveeie, an Enghsh animal
painter, was bom in Wiltshire in 1834. He came
to London in 1849, and studied for two years in
the Zoological Gardens. In 1851 he settled in
Salisbury, but six years later returned to London.
He was a constant exhibitor at the Eoyal Academy.
He died at Brook Green in 1888. His ' Struggle
for Existence ' is in the Walker Art Gallery,
Liverpool
GOSLING, William, landscape and figure
painter, was bom in 1824. He took to painting
somewhat late in life, but in 1852 he was elected
a member of the Society of British Artists; he
exhibited frequently with that body, and with the
Royal Academy. He died at Wargrave, Henley-
on-Thames, December 6, 1883.
GOUPIL, Jules Adolphe, born in Paris in 1839,
was a pupil of Henri and Ary Scheffer, and a
popular painter of portraits and genre. He first
exhibited at the Salon in 1878. He died in Paris
of consumption, April 28, 1883.
HADAMARD, Auguste, a French painter of
portraits and genre, was born at Metz in 1823, and
was a pupil of Paul Delaroche. He was a frequent
exhibitor at the Salon between 1846 and 1880. He
died in 1886.
HAGHE, Louis, water-colour painter and litho-
grapher, was bora at Tournay in 1806. He came
to England while still a young man, was elected
763
Hamman
SUPPLEMENT.
HoU
one of the foundation members of the New Society
(afterwards Institute) of Painters in Water-Colours,
and made his debut in London at their exhibition
in 1835. Of this body he continued an influential
member for many years ; he acted as vice-president
under Mr. Henry Warren, and on the death of the
latter in 1873 was elected President. His subjects
were chiefly the picturesque streets and buildings
of Northern France and of the Low Countries, which
he treated both in water-colour and lithography.
He was a partner in the well-known lithographic
establishment of Day & Haghe. He exhibited oc-
casionally in Paris. Among his best-known publi-
cations was 'A Portfolio of Sketches in Belgium,
Germany, &o.,' in three vols. London, 1840-60. In
1883 he resigned his Presidentship of the Institute,
and died at Stockwell, March 9, 1885.
HAMMAN, Edoaed Jean Conead, a Belgian
painter, was born at Ostend in 1819. He was a
pupil of Nicaise de Keyser, and in 1846 settled in
Paris. He was much employed by the French
Government, and gained the orthodox honours.
He died in Paris, on March 30, 1888. Pictures :
Dante at Ravenna. {Brussels Museum.')
Entry of Albert and Isabella into Ostend. {Do.)
Vesalius.
Infancy of Charles V. ; a reading of Erasmus. {Luxem-
bourg.)
HEDODIN, Edmond, painter and engraver, was
born at Boulogne in July, 1820, and became a pupil
of Paul Delaroche and of C^lestin Nanteuil. He
first attracted attention as a painter of rustic scenes
and of Algerian subjects. But it is as an engraver
that he takes an important place among modern
artists. For the Print Department of the Louvre
he reproduced Boucher's ' Diana at the Bath,' and
Carl van Loo's 'Halt of Huntsmen.' He was
largely employed by French publishers as an
illustrator of Editions de luxe. Among his most
successful undertakings were the engravings for
'Manon Lesoaut,' for the French translation of
'The Sentimental Journey,' for Rousseau's 'Con-
fessions,' and for the works of Moliere. This last
received the m^daille d'honnev/r at the Salon of
1888. He died on the 13th of January, 1889.
HEINLEIN, Heineich, landscape painter, was
born at Nassau-Weilburg in 1803. His mother, a,
pastel painter of some repute, gave him his early
instruction in art. He also worked under Gartner
at Munich, and later in the Mannheim Academy.
He travelled much in Italy and Switzerland, and
his subjects were chiefly mountain scenery. Many
of his pictures are in German galleries. He died
in 1885.
HENDSCHEL, Albbet, painter, draughtsman,
and etcher, was born at Frankfort-on-the-Maine,
June 9, 1834, and studied at the Staedel Institute
under Steinle, Passavant, and Jakob Becker. In
1869-70 he visited Italy. His pictures were chiefly
poetical and humorous illustrations of German
legends and folk-lore, but he occasionally painted
genre. His ' Sketch-Book ' was published in 1872-
74. He etched a few plates. He died in 1883.
HERDMAN, Robert, a Scottish painter of
portraits and historical subjects, was born at
Rattray, Perthshire, in 1830, and was educated at
the Trustees' Academy, Edinburgh. The son of a
minister, he was himself intended for the church,
but showed such a disposition for art, that he was
allowed to abandon the idea and become the pupil
of R. S. Lauder. From 1861 onwards he was a
frequent contributor to the Royal Academy Exhibi-
tions, where, however, his works failed to attract
much attention. In the north he had a considerable
reputation, and painted many portraits of Edin-
burgh notabilities. He became an associate of the
Scottish Academy in 1861, and a full member in
1863, and took an active part in the management
of that body. He died very suddenly of heart
disease, in his studio at Edinburgh, December 31,
1887. There are two pictures by him in the Scot-
tish National Gallery.
HILLEMACHER, Ernest, a French historical
and genre painter, was born about 1818. He was
a pupil of L6on Cogniet, and a frequent exhibitor
at the Salon, where he won the usual honours. He
died in 1887. Works :
Moliere and his Housekeeper.
Philip lY. and Velazquez.
Mortimer and Kichard Flantagenet,
A Game of Whist.
HOLL, Feank, was born at St. James's Terrace,
Kentish Town, London, on the 4th July, 1845.
He was the son of the eminent engraver, Francis
Holl, A.R.A. He was educated at Heath Mount
School, Hampstead, and at University College
School, Gower Street. At the age of fifteen he
became a probationer in the school of the Royal
Academy, where he was among the most successful
students of his year. In 1868 he won the travel-
ling scholarship with his picture of ' The Lord
gave, and the Lord hath taken away,' but resigned
it twelve months later, as he found he was not
profiting by the foreign travel it rendered obliga-
tory. Between 1869 and 1878 he exhibited many
pictures at the Academy, dealing mostly with the
more sombre incidents in domestic life. By these
he won reputation, but scarcely popularity. In
1878 he exhibited 'Newgate,' his most ambitious
subject picture, and a portrait. The latter was a
success, and led to the production of a half-length
portrait of Mr. Samuel Cousins, the famous en-
graver. This was at the Academy in 1879, and
its merits were so great that from the moment it
was seen until the author's death, he was never
without more commissions for portraits than he
could carry out. A list of the more remarkable
among them is given below. HoU's constitution,
which had been weakly from his birth, gave way
under the strain imposed upon him by his popu-
larity, and during his latter years he developed a
dangerous weakness of the heart. In 1888, after
the pictures had been sent in for the annual exhi-
bition, he paid a flying visit to Madrid. The
fatigue thus caused, added to the strain of finishing
his portraits for the Academy, brought on an
attack which proved fatal on the morning of the
last day in July. Holl was elected an A.R.A. in
1878, and a full Academician in 1884. The follow-
ing list is confined to his more notable works :
The Lord gave, and the Lord hath taken away. 1863.
{F. a Fawle, Esq.)
No Tidings from the Sea. 1871. {Tke Queen.)
'I am the Resurrection and the life.' 1872. {John
Akroyd, Esq.)
Leaving Home. 1873. {Mrs. Sill.)
Want. The Pawnbroker's Shop. 1873. {The late Felix
Vigne, Esq.)
Deserted. 1874.
Ordered to the Front. 1880. {Sir Thos. Zucas, Bart.)
Returned from the Wars. 1881. {Do.)
Portrait of Dr. Oradook. IBS] . {Brasenose College.)
„ „ Sir Henry Rawlinson. 1881.
„ „ Captain Sim. 1881. {Commercial Dock
Company.)
Hubert!
SUPPLEMENT.
Leai
Portrait of Sir Fredk. Roberts. 1881. (The Queen.)
„ „ William Agnew, Esq. 1S83.
„ „ Lord Wolseley. 1883. (Mrs. Frank Soil.)
„ „ Duke of Cambridge. 1883.
„ „ B. H. Oarbutt, Esq. 1884.
„ „ Prince of Wales. 1884. (Middle Temple.)
Francis Holl, A.R.A. 1884. (Mrs. Frank Holl.)
Portrait of Marquis of Dufferin and Ara. 1885.
„ „ Viscount Hampden. 1885.
„ „ Duke of Cleveland. 1885.
„ „ Sir George Trevelyan. 1886.
„ „ Lord Overstone. 1887. (Lord Wantage.)
,, „ Mr. Bright. 1887. (Reform Club.)
'„ „ Earl Spencer. 1888.
„ „ Mr. Gladstone. 1888.
„ „ Pierpont Morgan, Esq. 1888. {J. S. Mor-
gan, F.sq.)
„ „ Major Graham.
„ „ John Tenniel. ( William Agnew, Esq)
„ „ Mr. Chamberlain.
HUBEBTI, Gaspab, the engraver of an excellent
plate in the etyle of Hollar, after a portrait of
General Thomas Preston, now at Gormanston
Castle, County Meath. Of Huberti's life no par-
ticulars have been yet discovered. The only known
impression from his plate is in the library of Trinity
College, Dublin.
INCHBOLD, John William, painter and etcher,
bora at Leeds, April 29, 1830, was the son of Mr.
Thomas Inchbold, editor and proprietor of the
'Leeds Intelligencer.' He was educated in his
native town, and showing a strong taste for
drawing, was sent to London to be trained as a,
draughtsman in Messrs. Day and Haghe's litho-
graphic works. About 1847 he began the study
of_ water-colours under Mr. Louis Haghe. His
first exhibited works were ' Sheep's Tor, Dartmoor,'
and ' The Dewer Stone, Dartmoor,' which he sent
to the Suffolk Street Gallery in 1849. He early
became an adherent of Pre-Eaphaelism, his works
being distinguished by a laborious accuracy and
minuteness. In 1851 he exhibited two water-
colours at the Academy, and in 1855 his contribu-
tion, ' The Moorland,' was the subject of a warm
panegyric from Mr. Ruskin in his notes on that
year's Academy. As his powers developed, the
painter gradually acquired a larger and more
sympathetic manner, retaining the sentiment which
distinguished his early works, and showing much
power in the treatment of mountain distances and
effects of atmosphere. He etched a considerable
number of plates, though few were published, and
was favourably known in the literary" world as the
author of a volume of poems, 'Annus Amoris,'
published in 1877. He died suddenly of heart
disease, at his sister's house at Headingly, near
Leeds, January 23, 1888.
ISABEY, EnGENB Louis Gabriel, painter, son
and pupil of the famous miniaturist, was born in
Paris in 1804. He was one of the most original
of the ' men of '30.' In 1830 he accompanied the
French expedition to Algiers as marine draughts-
man. He practised later in Paris, and distin-
guished himself by his bold, effective, though
sometimes false treatment of marines and land-
scapes. He gained the usual honours from the
French Government, and died in April, 1886.
Among his best pictures we may name :
Battle off the Texel. 1839. (Versailles Museum.)
Embarkation of Napoleon's Corpse.
View of Boulogne. {Toulouse Museum.)
Embarkation of DeWitt and De Euyter. (Luxembourg.)
Wreck of the 'Emily.'
JAMIELLL See above, Miel, Jan.
JONG KIND, Johannes Barthold, Dutch painter,
is still alive.
JUSTUS OF Padua. See above, Menabuoi.
KALTBNMOSER, Max, a German painter of
domestic genre, was born at Munich in 1842, and
was the son of Caspar Kaltenmoser. In 1858 he
entered the Munich Academy, where he studied
under Poltz and Arthur von Eamberg. He died
in 1887.
KEARSB, Mrs. See above, Lawrence, Mary,
KEELING, W. K., an English painter, born
about 1808, practised in Manchester, where he took
an active part in the foundation of the Manchester
Academy of Fine Arts. He died February 21,
1886.
LALANNE, Maxime, draughtsman and etcher,
was bom at Bordeaux in 1827. . He was a pupil of
Gigoux. He was an assiduous exhibitor at the
Salon, where ho won the orthodox medals and
knighthood. His etchings are famous for the
scientific clarity of their method, a method which
he explained in his ' Treatise on Etching,' published
in 1866. Lalanne died in 1886. Among his
plates we may name :
Animals at Pasture ; after Berchem. 1864.
Italian Landscape ; after Claude. 1865.
Souvenir de Bordeaux. 1867.
Paris from the Trocad^ro. 1867.
Cows crossing a Ford ; after Troyon. 1873.
The Cornfield ; after Ruysdael.
Twilight ; after Crome.
Paris from the Louvre.
LAN^ON, AuGUSTB, painter and etcher, was a
native of Saint-Claude (Jura), and a pupil of Picot.
He painted chiefly battle-pieces and animals, and
was well known as an etcher. His best plates were
a series of seventeen from the Franco-Prussian War
of 1870-1. He died in May, 1885. His heirs pre-
sented his ' Lionne en arret ' to the Luxembourg,
and his ' Tranch^e devant Le Bourget' to the city
of Paris.
LAPIERRE, Louis-EMiLfi, landscape painter,
born in Paris in 1817, was a pupil of V. Bertin.
He exhibited landscapes, many of them of scenes
in the neighbourhoods of Rome and Fontainebleau.
He died in 1886.
LAZEEGES, Jean Raymond Hippolyte, painter,
was born at Narbonne, July 5, 1817. He was a
pupil of David d'Angers and of F. Bouchot, and
painted religious and historical subjects, exhibiting
a large number of works at the Salon between 1840
and 1880. He was much employed in decorative
painting for French churches. Examples of his
work in this genre are to be seen in the Bglise
Saint-Laurent at Orleans, and in the Eglise de
Notre Dame de Recouvrance ; also in the church
of S. Eustache in Paris. A ' Death of the Virgin '
by him, in the Tuileries Chapel, perished with the
palace. He died in Paris, October, 1887.
LEAR, Edward, draughtsman and landscape
painter, was born in 1813 (?), on the Earl of Derby's
estate near Knowsley, in Lancashire, his father
being an employe of the Earl. He was the youngest
of twenty-one children, and by the help of friends
was enabled to become an accurate zoological
draughtsman. In 1835 he came to London, and
first exhibited at the Suffolk Street Gallery in the
following year — ' A Study of Dead Birds.' It was
his practice to make minute studies of birds in
765
Legras
SUPPLEMENT.
SCaillot
the Zoological Gardens, and many of the draw-
ings in Gould's earlier volumes were by him.
He also worked much in hospitals as a patholo-
gical draughtsman. The outcome of a visit to
Knowsley was 'The Knowsley Menagerie,' now
a rare and highly-prized book. He became a con-
stant visitor at Knowsley, and there composed that
' Book of Nonsense,' by which he is best known.
He had meanwhile been devoting himself seriously
to landscape painting, and when his delicate health
began to give way under the severity of English
winters, the successor of his first patron started a
subscription wliich enabled him to go to Rome for
further study. In 1846 he published his 'Illus-
trated Excursions in Italy,' which he gratefully
dedicated to the then Earl of Derby. A kindred
work was 'Sketches of Rome and its Environs.'
Journeyings in Greece, -Albania, Sicily, Malta,
Corsica, Palestine, Syria and Egypt, &o., were all
industriously recorded in like picturesque fashion
with pen and pencil, drawing from Tennyson the
' Lines to E. L. on his Wanderings and Travels in
Greece.' Lear never became popular, however, as
a landscape painter, and in his later, years he can
scarcely be said to have risen above the rank of a
topographical artist, as which he was accustomed
modestly to describe himself. In character he was
a man of great amiability and personal charm, and
his social gifts attracted to him an immense circle
of friends in the various countries he visited.
Towards the close of his life he lived in great
retirement at San Remo, where he had built him-
self a house, and where he died, January 29, 1888.
Besides the illustrated books above mentioned,
Lear further published 'Illustrations of Parrots,'
'More Nonsense Pictures,' and 'Laughable Lyrics.'
LEGRAS, AuGUSTE, was born at Perigueux,
June 2, 1817, and was a pupil of Bonnefond and
of Ary Soheffer. He was a successful painter of
portraits, genre, and still-life, and exhibited at the
Salon between 1847 and 1882. He died in October,
1887.
LELOIR, Alexandre, painter in water-colours,
born in Paris, March 14, 1843, was a pupil of
his father, J. B. Auguste Leloir. He made his
debut at the Salon of 1863, when he exhibited a
' Massacre of the Innocents,' which was followed
by various genre pictures and sacred subjects. He
died in Paris in 1884.
I LEMUD, AiM^ DE, a French painter, engraver,
and lithographer, was born in 1816, and studied
under M. Mar^ohal of Metz. He learnt engraving
in order to illustrate the songs of B^ranger, and
practised his new art with much success. He was
best known, however, by two popular lithographs,
' Maltre Wolf ramb ' and ' Helene Adelsfreit.' He
retired to Nancy some years before his death, which
took place in April, 1887. His 'Fall of Adam'
is in the Museum of Nancy, and his ' Prisonnier '
in that of Metz.
LE PAON, Jean Baptiste, a French draughts-
man and battle painter of some repute in the 18th
century, was born near Paris in 1738. He began
life as a dragoon, and served in the Seven Years'
War, but was wounded and discharged. He then
came to Paris and submitted sketches he had made
during the campaign to Boucher and Carle Van
Loo, who encouraged liim to persevere. He accord-
ingly studied under Casanova, and first exhibited
at the Salon in 1779. Several of his battle pieces
are in the Versailles Museum, and in the Nantes
Museum there is a hunting scene by him. He
766
also engraved a plate, ' La Trompette.' He married
in 1785, but the date of his death is not known.
LEEIUS, Joseph Henri FEANgois Van, a Belgian
historical and subject painter, was bom at Boom,
near Antwerp, in 1823. He studied in the Acade-
mies of Brussels and Antwerp, and was a pupil of
Baron Wappers. His works achieved much popu-
larity in his native country, and he rose into the
front rank of contemporary Belgian painters. He
became professor of painting in the Antwerp
Academy, and died at Mechlin in 1876. His best
known picture is ' Lady Godiva.'
LifeVEB, Bdouard, painter, engraver, and de-
signer, was born at Blamont, Meurthe, in 1829,
and was a pupil of Couture. He eventually de-
voted himself chiefly to archaeology, and published
several works on decoration and ornament, also a
book on ' The Works of Art in England.' He died
in Paris, November 26, 1886.
LOD. FERRARESE. See above, Mazzolini.
LOFTHOUSE, Mrs. Mary, n4e Foester, painter
in water-colours, was born in 1853. She was the
daughter of Mr. T. W. B. Porster, a painter who
frequently exhibited at the Royal Academy. Her
drawings appeared at the Dudley Gallery and at
Burlington House, but more often at the exhibitions
of the Society of Painters in Water-Colours, of
which she was elected an Associate in 1884. She
died at Halliford, May 2, 1885.
LUCAS, David, mezzotint engraver, was bom
on August 18, 1802. He is famous as " Con-
stable's engraver," having reproduced in mezzotint
a number of that painter's works. The chief enter-
prise on which the two men collaborated, was a
series of plates published with the collective title
of 'English Landscape.' Besides these Lucas
engraved the following single plates after Con-
stable: 'The Lock,' 'The Cornfield,' 'Salisbury
from the Meadows,' ' Dedham Vale,' ' The Young
Waltonians,' ' Hadleigh Castle.' In each of these
the style of the painter was reproduced with extra-
ordinary force and truth. Lucas also engraved a few
portraits, but they are of slight merit. Many years
before his death he gave way to intemperate habits,
and abandoned his art. He died in 1881. The
following plates by him may also be named :
The Grand Oanal ; after J. D. Harding.
The Corsair's Isle ; do,
Grace Darling ; after J. W. Garmichael and B, W.
Parkes.
Landscape with Mill ; after Lee.
The Burns Monument, on the Doon ; after F. C. AvXd.
MACBETH, NoBMAN, a Scottish portrait painter,
was born in 1822. He was educated in Edinburgh,
and in 1870 was elected an Associate of the Royal
Scottish Academy. In 1880 he became a full
member, his diploma picture being a portrait of
Sir John Steell, E.S.A. He afterwards moved to
London, where he was representative trustee of
the Scottish Academy at the British Institution.
He died in London, February 27, 1888. Mr. R. W.
Macbeth, A.R.A., Mr. James Macbeth, and Mr.
Macbeth-Raeburn, are his sons. His portrait of
Dr. William Lindsay Alexander is in the Scottish
National Portrait Gallerv.
MAGLIBTTI. See above, Macchietti.
MAILLOT, Theodore Pierre Nicolas, painter,
was born in Paris in 1826. He was a pupil of
Drolling and Picot. He won the First Grand Prix
de Rome in 1854, and afterwards painted many
historical pictures, including some for the French
Kakart
SUPPLEMENT.
Melin
Government. Works by him are in the Pantheon,
the church of St. Jaoijues-du-Haut-Pas, and in the
Chapelle de St. Marcel. He died at Passy, June
25, 1888.
MAKART, Hans, painter, was born at Salzburg,
May 29, 1840, of parents who belonged to the
humbler burgher class. In 1858 he entered the
Vienna Academy, from which he was dismissed
a few months later as " entirely devoid of talent 1 "
He returned, greatly discouraged, to Salzburg, and
had almost made up his mind to turn engraver,
when his maternal uncle, one- Sohiffmann, a local
painter, came to his aid, provided him with money,
and took him to Munich, where, after two years'
delay, he entered Piloty's atelier. Makart remained
there until 1868, painting and exhibiting a few
works, which attracted little attention, but enabled
him to pay visits to Paris, London, and Italy. In
1868 he painted two pictures which created an
immense sensation throughout Germany. These
were the ' Modern Amorini,' a triptych representing
groups of children against a background of gold,
and a 'Plague in Florence, or the Seven Deadly
Sins,' also in three compartments. Thenceforth
Makart' s career was an ever-recurrent triumph.
In 1869 he was invited to Vienna by the Emperor
Francis Joseph, and a splendid atelier built for
him at Government expense. In Vienna he became
the centre of a brilliant circle, the recognized
organizer of /^to and pageants,, and the dispenser
of gorgeous hospitalities in his own studio. The
great allegorical ' progress ' in honour of the Em-
peror's silver wedding (1879), was designed by him
in every detail. His talent was further shown in
his decorations for the Vienna ' Kunst-Museura.'
Of his easel pictures, the earliest were the best.
Later, he dashed ofi enormous compositions which
had little but a certain brilliant assertiveness to
recommend them. In 1879 Makart became pro-
fessor of a special school of history-painting in the
Vienna Academy, and as a teacher his influence
was beneficial. Makart was twice married ; for
the second time, in 1882, to the ballet-dancer,
Bertha Linda. He died suddenly on the 3rd of
October, 1884, at Vienna. He was buried with
extraordinary pomp, the whole city flocking to his
funeral. Of his more careful works, the best, per-
haps, are: ' Abundantia,' a series of life-size alle-
gorical figures, typifying the riches of land and
sea; 'The Triumph of Catarina Cornaro,' 1873,
now in the National Gallery of Berlin ; the ' Entry
of Charles V. into Antwerp,' 1878 (Hamburg Kunst-
halle) ; 'Cleopatra's Voyage' (Stuttgart Gallery);
allegories of 'The Senses,' 'Spring,' 'Summer,'
'Morning,' 'Evening,' 'Noon,' and 'Night'
MABAVEIA. See above, under Pensabbne.
MARC, A., born at Metz in 1818, was a painter
and draughtsman, but was better known as editor
of ' Illustration.' He practised for a time as draw-
ing-master at Diekirch, in Luxembourg, when a
very young man, and subsequently became a pupil
of Delaroche, exhibiting first at the Salon of 1847.
He died in 1886.
MARINI, Gtolia. See Ntjti.
MASTER P., The, is known as the engraver of
a fine early print, either German or Netherlandish
in origin, called the ' Immaculata ' pr ' Mary
as Queen of Heaven.' It bears as signature a
Gothic P. and the date 1451, but the latter, it is
thought, may have been tampered with on the one
impression known. This was formerly in the
Weigel collection, at the sale of which in 1872 it
fetched nearly £600, and was reproduced in
Weigel's ' Drucker-Kunst ' and The Sale Catalogue.
MATOUT, Louis, painter, was born at Eenwez,
Ardennes, March 19, 1811. He studied at the
College Rollin, at Charleville, and was intended
for the profession of an architect, but abandoned it
in favour of painting, and entered the ficole dea
Beaux Arts in Paris. In 1846 he was sent to
Rome, and commissioned by Government to paint
five pictures on the subject of ' The Senses.' 'Two
only were completed, and these were exhibited at
the Salon of 1848, together with a ' Pan surrounded
by Nymphs.' Shortly afterwards he made a stay
of some length in Algiers, and on his return he
received another important Government commis-
sion, the decoration of the Paris School of Medicine.
For this work he was awarded the Cross of the
Legion of Honour. It was followed by other
undertakings of a like nature, notably six paintings
for the HSpital de Lariboisifere, the decoration of
the chapel of St. Anne in the church of St. Gervais,
of the St. Louis chapel in the church of St. Sulpice,
and of the Salle des Bmpereurs in the Louvre.
His easel pictures, ambitious in conception, but
mediocre in execution, were chiefly mythological
and historical in subject. Matout died in Paris in
January, 1888.
MAUVE, Anton, a Dutch painter, was born at
Zaandam in 1838, and became a pupil of P. F. van
Os. He painted landscapes with animals, chiefly
sheep and cows, but occasionally horses. He
worked much in water-colour, in which his broad
methods showed to advantage. Many of his pic-
tures are in England. He died February 5, 1888.
MEADOWS, J. Kenny, draughtsman and painter,
was born in Cardiganshire, November 1, 1790. His
father was a retired naval officer. He himself first
became known in art by his designs on wood for
book illustration. He exhibited occasionally at
the Royal Academy and in Suffolk Street. His life
was spent mostly in the companionship of pro-
fessed humorists, and his designs have the rather
forced comicality we should thence expect. During
the last ten years of his life he was in receipt of a
pension from the Civil List. He died in August,
1874. Among the works he illustrated we may
name :
J. E. Planelie's ' Costume of Shakespeare's King John.'
1823. Figures designed and executed on stone by
J. K. M.
Autobiography of a notorious Legal Functionary, by
' Jack Ketch.' 1836.
Heads of the People, or Portraits of the English, drawn
byK.M. 1840.
Swift's Hints to Servants. 1843.
Shakespeare. 1843.
Punch's Complete Letter-Writer, by D. Jerrold. 1845.
New Testament. 1847.
Magic of Kindness, by J. and H. Mayhew ; illustrated
by Geo. Cruikshank and Kenny Meadows. 1849.
The Works of Byron. 1854.
Blanchard's ' Corporation Characters.' 1855.
Granny's Wonderfnl Chair, by F. Browne. 1857.
Merry Pictures by the Comic Hands of H. K. Browne,
M., and others. 1857.
Beeton's Book of Games. 1866.
Don Quixote. 1872.
M^DAED, Eugene, a French painter of battle
pieces, was born in 1849. He was a pupil of Ldon
Cogniet and of G^rome. His ' Retraite de Buzen-
val ' was bought in 1886 by the French Govern-
ment. He died in 1887.
MELIN, Joseph, a French painter, best known
by his vigorous studies of animals, though he
767
Mesgrigny
SUPPLEMENT.
Oakes
began life as an historical painter, was born in
1814, and was a pupil of P. Delaroche and David
d'Angers. He died in November, 1886.
MES&RIGNY, Frank, Marquis de, painter, born
in Paris in 1836. He was a pupil of Lalanne and
Worms, and exhibited a number of refined and
highly finished studies of French river scenery
(chiefly of the Oise and Seine) from 1870 onwards.
He died in 1884.
METELLI. See above, Mitblli.
MILLER, John, an amateur portrait painter, was
born in London in 1820. He exhibited at the
Eoyal Academy in 1846 and 1847, and resided for
some time in Rome and Florence. He returned to
England in 1852, and died in London in 1871.
Among his portraits are the following :
Henry, seventh Duke of Beaufort.
Kobert Graves, A.R.A.
John Richardson Jackson, mezzotint engraver.
MODENA, Barnaba da, who has been mis-
takenly called Serafini, and confused with Sera-
fino dei Serafini, flourished in the 14th century,
and seems to have passed much of his time in
Piedmont and Pisa. There are no records exist-
ing concerning his birth or death, and very
little is known of his life. He was a contem-
porary of Tommaso da Modena, and was sent for
by the Pisan authorities to finish the frescoes of
St. Eanieri in the Campo Santo in 1380, though no
evidences of his workmanship can now be found
there. Of two altar-pieces in the church of San
Francesco, one alone remains. An altar-piece, for-
merly in the monastery of San Giovanni del Fiero,
which represents an enthroned life-size Virgin and
Child with eight Angels, and is now in the Academy
of Pisa ; and an unsigned altar-piece in the sacristy
of Ripoli, four miles from Padua, are all that attest
his visit there. There also remain by him :
Berlin. Gallery. Virgin and Child ; signed^ and
dated 1369.
Frankfort. Siaedel Gall. Virgin and Child, half-length ;
signed Barnabas da Mutina
pinxit, anno 1367.
MOLE, John Henry, water-colour painter, was
a native of Newcastle-on-Tyne, and was born about
1814. He first exhibited in London in 1846 at the
Royal Academy, and two years later became a
member of the New Society of Painters in Water-
Colours, of which body he was afterwards Vice-
President. He was a frequent exhibitor for many
years at the leading London galleries. He died
December 13, 1886.
MOODY, Thomas Wollaston, painter, better
known as a lecturer, teacher, and designer, was the
son of the Rector of Chatham, Kent, and was born
about 1824. He occasionally exhibited pictures,
but was chiefly occupied with his duties at the
South Kensington Museum, where for many years
he held the post of Instructor in Decorative Art.
He died August 10, 1886.
MORIN, &USTAVE, a French historical painter,
born at Rouen, April 18, 1809, was a pupil of
Chaumont and of L^on Cogniet. He first exhibited
at the Salon in 1833. In 1858 he was appointed
Director of the Academy of Painting at Rouen,
and in 1865 Conservator of the Museum. He died
February 15, 1886.
MDSSINI, Luisi, a modern Italian painter of
history, was born in the first years of the 19th
century, and enjoyed a considerable reputation in
his own country. Towards the close of his long
career he practically abandoned painting, and
768
devoted himself to his duties as Director of the
Siena Gallery. His portrait, painted by himself,
is in the Uffizi. Mussini died at Siena, June 18,
1888.
MDTRIB, Martha Darlet, a painter of fruit
and flowers, was born at Manchester in 1824. She
first exhibited at the Academy in 1861, when she
was living in Manchester. In 1863 she went to
London, and was henceforth a constant contributor
to the exhibitions of the Royal Academy and the
British Institution. She died at her house in Ken-
sington, December 30, 1886. The South Kensington
Museum has a ' Study of Camellias ' by her.
NEHER, Bernard, historical painter, was born
at Biberach, Wiirtemburg, in 1806. After some
early instruction in his native place, he studied at
Stuttgart under Dannecker, and at Munich under
Cornelius, and showed so much talent in his early
essays that he was relieved from military service,
and granted a government pension for further study
in Italy. He stayed four years in Rome, and while
there painted (1831) his ' Raising of the Widow's
Son,' now in the Stuttgart Gallery. On his return
to Munich he was commissioned to paint a fresco
on a large scale over the restored ' Isarthor,' repre-
senting the entry of Ludwig of Bavaria after the
battle of Ampfing. He was afterwards engaged
on decorative paintings at the Court of Weimar,
and designed a number of cartoons for glass-paint-
ing. In 1841 he became Director of the Leipsic
Academy, and in 1854 Director of the Ai-t School of
Stuttgart. He died in 1886. His ' Descent from
the Cross ' is in the Stuttgart Gallery.
NICHOLSON, T. (?) H., was popular as a book-
illustrator in the first half of the present century.
He produced a series of designs for a Shakespeare,
and was said to be the real author of Count
D'Orsay's statuette of Wellington.
NORBURY R., painter and sculptor, was bom
at Macclesfield in 1816. He held successively the
posts of assistant master to the Schools of Design
at Somerset House and at Liverpool. After his
resignation of the latter appointment he was
elected president of the Liverpool Water-Colour
Society. He was also a member of the Liverpool
and Cambrian Academies. He painted a large
number of portraits, and was also much employed
in decorative design and in book illustration, prac-
tising at Liverpool, but frequently exhibiting iu
London. He died April 25, 1886.
NULCK, L., a painter apparently of the Dutch
school, of whose life nothing is known. In the
collection of M. Ch. Careus, Brussels, there is an
interior with figures by him, signed L. Nulck, 1680.
NUTI, GiULlA, the wife of Antonio Marini (g.i).),
frequently painted flowers in her husband's pictures.
OAKES, John Wrioht, landscape painter, was
born at Sproston House, Middlewich, Cheshire,
which had been for several generations in the pos-
session of his family, on July 9, 1820. He was
educated at Liverpool, and received his art training
under Mr. Bishop, of the Liverpool College. His
first exhibited works appeared at the Liverpool
Academy, of which body he shortly afterwards
became a member, and later honorary secretary.
His subjects were chiefly Welsh coast, moorland,
or mountain, or studies of Highland scenery. In
1847 the first picture exhibited by him in London,
'Nant Francon, Caernarvonshire,' appeared at the
British Institution, and the following year he sent
Paling
SUPPLEMENT.
Rajon
' On the Greta, Keswick, to the Eoyal Academy.
In 1859 he settled in London, and thenceforth
was, with one intermission, a yearly contributor to
the Academy Exhibitions. In 1876 he was elected
an associate of the Eoyal Academy, and in 1883
an honorary member of the Scottish Academy.
About six years before his death his health began
to give way, and he had practically laid aside his
work for some time when he died on August 8th,
1887, at his house in Kensington. Among his
works we may name the following :
Early Spring twilight. (S. Kensington Museum.)
Early Spring. (Glasgow Gallery.)
Autumn. {Liverpool, Walker Gallery)
PALING. See above, Paulyn.
PAULI, (or Paul,) Andreas, also called Db
Padlis, a Dutch engraver, was bom about 1598.
No details of his life are known. The following
plates by him have much in common with those of
Johann Anton Pauli :
Portrait of the physician N. Bulius.
Titian and his Mistress ; copied on a reduced scale from
Van DycVs plate.
The Denial of Peter ; after G. Zeghers,
Virgin and Child ; after Rubens.
Bacchus and Ceres ; after Sprangher.
The Entry of Maria de' Medici into the towns of Mons,
Brussels, and Antwerp, in 1631 ; three plates.
A set of Fifty Plates of Emblems.
PEHAM. See Pecham.
PELLBGEINI, Carlo, draughtsman and cari-
caturist, was bom at Capua in 1838, and was, on
his father's side, the scion of an ancient family
long settled in the district, and known as the
SedUi Gapuani; on his mother's a descendant
of the Medici. In his youth he became involved
in the Italian struggle for liberty, and enrolled
himself among the Garibaldians. In 1865 he
arrived in England in straitened circumstances,
and a chance having revealed his gifts as a satirical
draughtsman, he was engaged on the staflE of
' Vanity Fair.' In 1869 his first political carica-
ture, a drawing of Lord Beaconsfield, appeared in
that journal. It was signed ' Singe,' a pseudonym
which he afterwards changed for 'Ape.' Hence-
forth he was a prolific contributor for many years
to ' Vanity Fair,' and has left behind him many
hundreds of portraits of notabilities in the English
political, artistic, and social world. One of the
most successful was a statuette in red plaster of
Mr. Lowe standing on a match-box, which the
artist modelled in Count Gleichen's studio. His
last gubUshed caricature was that of Sir William
Dolby, the famous aurist, and the last he drew a
sketch of Mr. Edison, the inventor of the phono-
, graph. During his long residence in London,
iPellegrini's gay and genial temper endeared him
to all with whom he came in contact, and in his
last illness a fund was provided by his more intimate
friends for his support. He died in Mortimer Street,
Cavendish Square, January 22, 1889, and was
buried at Kensal Green.
PEECY, S. B., landscape painter, was the
son of Edward Williams {q. v. ), and changed his
name to avoid being confused with his numerous
brothers. He was the founder of what is known
as the 'School of Barnes.' He was a frequent
contributor for over forty years to the exhibitions
of the Eoyal Academy, and his sketches and
pictures were very popular with the public. He
died April 13, 1886.
VOL. n. 3d
PEREZ DB LA VILLA AMIL, Geeonimo, a
Spanish painter, born at Madrid about 1810. He
studied at the Madrid Academy, and painted land-
scape, genre, and notably architectural interiors
with figures. His best known picture is an ' Interior
of Seville Cathedral on Corpus Christi day.' He
published a work on Spanish architecture, illus-
trated by lithographs. He died at Madrid in 1853.
PFANNSCHMIDT, Karl Gottfried, painter,
was born at MUhlhausen in Thuringia, September
15, 1819. He came to Berlin in 1835, and studied
under Dage and Cornelius. He painted a great
many altar-pieces and pictures for North German
churches, also decorative works in the manner of
Cornelius ; of the latter the most remarkable is the
apse of the Charlottenbnrg Mausoleum. Pfann-
sohmidt died in July, 1887. There is a picture by
him in the National Gallery at Berlin.
PHILP, James George, painter, was a native
of Falmouth, and was born in 1816. He first ex-
hibited at the Royal Academy in 1846, his contri-
butions being two landscapes in oils. He after-
wards successfully devoted himself to painting ia
water-colour, and in 1856 became a member of the
New Society of Painters in Water-Colours. He
died April 11, 1885.
PICKENOY, Nicolas Elias, called Elias, a
little-known Dutch painter, who is, however, the
reputed master of Van der Heist, was born at
.Amsterdam about 1590. There are twelve pictures
by him in the Rijks Museum at Amsterdam, which
show him to have been an excellent portraiHst.
He died, probably at Amsterdam, between 1646
and 1656.
PINEL, Edouaed, painter, bom at La Eochelle,
was a pupil of Eoqueplan and of Gudin. He en-
joyed some repute as. a landscape painter in the
days of Louis Philippe, and was for many years
keeper of the Museum in his native town. He died
in 1884.
PITTOEI, Paoli, called Paolo del Masaccio, an
Italian painter, born at Masaccio, where he painted
many pictures for churches, &c. He died in 1590.
PONTIUS. See Du Pont.
EAJON, Paul Adolphb, draughtsman and etcher,
was born at Dijon in July, 1843, and was educated
at the Zyc/e of his native town. His father died
when Eajon was thirteen years old, and his mother,
left with small means, placed the boy with his
brother-in-law, a photographer, at Metz, who em-
ployed him to " touch up " plates. In 1864 he
came to Paris, and for a time gained a precarious
livelihood by working up and colouring photo-
graphs, making cartoons for stained glass, and
drawing portraits in black lead or sanguine. At
the same tim^ he worked for a month or two under
Pils at the Bcole des Beaux Arts. About 1865
Eajon made the acquaintance of Leopold Flameng
and L^on Gaucherel, and was induced to try his
hand at etching. The result was an admirable
reproduction of G6r6me's 'Rembrandt dans son
Atelier,' which was purchased by the Messrs.
Goupil. The success of the publication was fol-
lowed up by several commissions from the same
firm, and Rajon's vocation was determined. From
1866 onwards, his artistic career was one of un-
chequered success, broken only by the interlude of
the siege of Paris, when, like so many other artists,
he quitted his studio to enrol himself in the corps
known as Les Er^fants perdus de La Villette.
After the campaign he visited England, being
769
Bedgrave
SUPPLEMENT.
Simousen
invited by the editor of the 'Portfolio.' Henceforth
he made annual visits to England, and some of his
finest plates were from pictures in this country.
In 1885 Rajon exhibited a large collection of bis
works, in oils, water-colours, chalk, and pastel, as
well as many etchings, in Bond Street; and an
exhibition of his etchings took place the following
year in New York, which he then visited for the
first time. In 1880 he moved to a country house
he had built at Auvers, on the banks of the Oise,
about forty miles from Paris, where he delighted to
entertain the many friends of all nationalities he had
attached to himself throughout his career. He died
there on the 8th of June, 1888, and was buried in
the cemetery of Auvers. Of his numerous plates
we may name :
Belais de Chiens ; after GMme.
L' Amour Platonique ; after Zamaco^s,
Le Liseur ; after Mdssonier.
Salomfi ; after Regnaidt.
L'lQdiff&ent ; after Watteau.
Dutch Courtyard ; after De Hooghe,
Johu Bright ; after Ouless.
Charles Darwin ; after the same.
Cardinal Newman ; after the same.
The Emperor Claudius ; after Alma Tadema.
' George Eliot ' ; after Sir Frederick Burton.
Lord Tennjrson ; after G. F. Watts.
Herr Joachim ; after the same.
Also many plates for the ' Portfolio ' from pictures
in the National Gallery, the Dulwioh Gallery, &c.
For a complete list of Bajon's plates, with_ fuller
details of his life, see ' Twelve Etchings contributed
to the " Portfolio " by Paul Adolphe Eajon, with
Memoir and Notes by P. G. Stephens.' London, 1889.
REDGEAVE, Richard, painter, was bom on the
30th April, 1804, in Pimlico, and in his early youth
worked as assistant to his father, who was associated
in the engineering works of Bramah, the inventor
of the hydraulic press. At the age of twenty-one
he entered the Academy schools, and competed un-
successfully for the gold medal. He first attracted
public attention in 1836, by his 'Gulliver on the
Farmer's Table,' exhibited at the British Institu-
tion, which is now at South Kensington. In 1840
he was elected an associate of the Royal Academy,
and in 1851 a full member. Meantime he had been
. actively engaged in the organization of the Govern-
ment School of Design, of which he was appointed
Botanical Teacher and Lecturer, and later Head
Master and Art Superintendent. It was about
this time that, with the help of Mr. H. Cole
(afterwards Sir Henry Cole, K.C.B.), he formed the
museum of ornamental art at Marlborough House,
the nucleus of the present Museum of Art at South
Kensington. They were again associated in the
• arrangement of the Great Exhibition in 1851, and
in the British Section of the Paris Universal
Exhibition of 1855. In 1862 Redgrave worked in
conjunction with Creswiok in carrying out arrange-
ments for the English Art Section of the Inter-
national Exhibition. In 1858 he was appointed
Surveyor of Crown Pictures, and for many years
was engaged on a catalogue of them. In 1866 he
joined his brother Samuel (who died in 1876) in
preparing a history of British art from the time of
Hogarth, under the title of 'A Century of Painters.'
For many years he kept up his connection with
South Kensington, where he took the chief part in
forming an historical collection of water-colours
for the Museum. In 1880 he resigned both his
appointment as Surveyor and Keeper of the Royal
Pictures, and also his post in the Department of
770
Science and Art at South Kensington, and from
that time he seems to have painted but little.
He died in Kensington, December 14th, 1888.
Redgrave was a member of the Etching Club.
RIDLEY, Matthew White, landscape painter
and etcher. He exhibited frequently with the
Society of British Artists, the British Institution,
and the Royal Academy, between 1857 and 1880.
He died June 2, 1888.
RIVlilRE, Henry Parsons, water-colour painter,
was a student of the Royal Academy, and first
exhibited in London 1832, when he sent two pic-
tures to the Suffolk Street Gallery. He was after-
wards a frequent exhibitor there, and also at the
Royal Academy and the British Institution. In
1834 he became a member of the New Society of
Painters in Water-Colours, and in 1852 was elected
an Associate of the Old Society. He painted chiefly
history and genre, either English or Italian in
subject. In 1867 he went to Rome, where he lived
for many years. He died at his house in St John's
Wood, in 1888.
ROBINSON, Hugh, an English painter of the
18th century, was born about 1755. He painted
vigorous portraits, somewhat after the style of
Reynolds. He exhibited at the Academy in 1780-
1-2. About 1782 he went to Rome, where he
painted for eight years. In 1790 he started to
return home by sea, but the ship was wrecked ;
Robinson was drowned, and the work of his eight
years lost. Pictures by him were at the 'Old
Masters,' in 1881-85-87.
ROELFSEMA. See Oevbr.
ROLLAND DE LA PORTE, Henri Horace, a
French painter of fruit, flowers, still-life, and feigned
bas-reliefs, was born in Paris in 1724. Between the
years 1760 and 1789 he frequently exhibited at the
Salon. In 1763 he was received into the Academy.
He died in 1793.
ROSEMALE, , a Dutch painter of the 17th
century, who painted views of towns and interiors
in the manner of Emanuel de Witte. The town of
Utrecht possesses a picture by him, representing
the church of St. Peter of that place in ruins, after
the hurricane of 1674.
SAUVAIGNE, Loms Paul, a French marin«
painter, and pupil of Corot and Daubigny, was
bom at Lille in 1827. He exhibited at the Salon
from 1870 onwards, practising chiefly at Lille. He
died at Trouville in 1885.
SEGB, Alexandre, painter and engraver, was
bom in Paris in 1819, and was a pupil of Cogniet
and of Camille Flers. He distinguished himself
chiefly by his poetic pastorals from La Beauce, and
his scenes from the neighbourhood of Chartres,
also bj' many studies of Corsican landscape. His
' Chenes de Kertregounec ' is in the Luxembourg.
He died of an aneurism at Coubron, Seine-et-Oise,
in October, 1885.
SIMONSEN, Niels, painter and sculptor, was
born in 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 himself for some years to
sculpture, but finally reverted to painting, and
worked from 1833 to 1845 in Munich. In the
latter year he returned and settled in 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.
Steinla
SUPPLEMENT.
Zimmermaim
STEINLA, MoElTZ, engraver, whose real name
was MuLLER, which he changed for that of Steinla
as more distinctive, was horn at Steinla near Hilde-
sheim in 1791. He received his first training at
the 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 Longhi. His first im-
portant plate was after Titian's 'Tribute Money,'
and was published in 1829. It was followed by a
'Pieta' after Era Bartolommeo (1830), 'The Mur-
der of the Innocents' after Eaphael (1836), the
'Madonna della Misericordia ' after Era Barto-
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 Eaphael'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. He died
at Dresden, September 21, 1858.
STEPHENSON, Jambs, engraver, was born at
Manchester, November 26, 1808. He was a pupil
of the Findens, and worked both in line and mez-
zotint. He first exhibited at the Academy in 1856.
He engraved much after Maclise, T. Faed, Sir J.
W. Gordon, Sir John Millais, &c., and also in illus-
tration of books. Among his best plates are:
The Day of Wrath ; after Martin.
The Last Judgment ; after the same.
The Plains of Heaven ; after the same.
The Highland "Whiskey Still ; after Landseer.
The Taming of the Shrew ; after the same.
The Queen at Osborne ; after the same,
Ophelia ; after Sir John Millais.
Portrait of Lord Tennyson ; after G. F. Watts.
He died May 28, 1886.
SWINTON, James, portrait-painter, was born
about 1820, and exhibited at the Royal Academy,
at Suffolk Street, and with the British Institution.
For about twenty years he was a very fashion-
able portrait painter, among his sitters being the
Emperor Napoleon III., Lady Burdett-Coutts, Lady
Dufferin, Lady Marian Alford, Mrs. Norton, and
Lady Seymour. His portrait of Professor Wilson
is in the Scottish National Gallery. He died in
December, 1888.
SYER, John, an English painter, was born at
Bristol (?) in 1815. He painted landscape in a
style formed chiefly upon that of William Muller,
but failed as a colourist. He exhibited at the
Academy, the British Institution, and with the
British Artists, between 1832 and 1875. He died
in July, 1885.
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
to the hands of Joseph Taylor, who is believed to
have been the first 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 ' William Shakespeare ' (trans-
lated by L. D. Schmit; pp. 263, 559, 661).
THOMPSON, Jacob, painter, was born at Penrith,
April 28, 1807, and was educated in art with the
help of Lord Lonsdale. His patron sent him to
London in 1829 with an introduction to Lawrence,
3d*
and he became a student at the Royal Academy,
where he received much encouragement from
Hilton, Smirke, and Lawrence. He. began by
exhibiting portraits in 1833, but subsequently
devoted himself mainly to landscape with figures,
taken chiefly from his native Cumberland, and
from Scotland. He died December 27, 1879. See
also ' The Life and Works of Jacob Thompson,' by
Llewellyn Jewitt. (1882.)
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.
THORBURN, Robert, painter, was born at
Dumfries in 1818. He was educated in the high
school of his native town, and afterwards in the
Royal Scottish Academy. The Duke of Bucoleuch
sent him to London in 1836 with letters of intro-
duction. He entered the Royal Academy schools,
and soon became favourably known as a portrait
painter, chiefly in miniature. He first exhibited at
the Academy in 1837, from which year till 1884 he
was a constant contributor. In 1848 he was elected
an A.R.A., an honour which he resigned a few
months before his death. His miniatures were
fashionable, among his sitters being the Queen
and other members of the Royal Family ; the
Marchioness of Waterford, Viscountess Canning,
the Duchess of Buccleuch, Lord and Lady Mount
Edgcumbe, Mrs. Gladstone, and many others.
Finding that his speciality had been virtually
superseded by photography, he had long abandoned
it for the painting of oil pictures, when he died at
Tunbridge Wells, November 2, 1885.
VIVA, Tommaso db, an Italian painter of histori-
cal subjects, was born at Rome in 1790, and painted
much for the public buildings of that city. He
was a professor in the Institute 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 honours from the Italian
Government, and continued the active exercise of
his profession down to the time of his death, which
occurred in October, 1884.
VOGEL, JoHANN Philipp Albert, an engraver
upon wood, was born at Berlin in 1814, and was
the son of the engraver Johann Daniel Vogel. His
artistic career is almost identical with that of his
younger brother, Karl Friedr. Otto {q.v. above).
He worked for a short time at Leipsio 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.
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 Academy. He was accused of com-
plicity in a plot against the Russian Government,
and sent to the Siberian mines. He died in October,
1885.
ZIMMERMANN, Friedrich, a German engraver,
was born at Gordemitz, near Merseburg, in 1826.
He studied at the Academies of Leipsio and Dresden,
under Sichling and Steinla, but finished his training
in Paris and Munich. He died in 1887.
771
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