TKANsHUl'ltvnoN <>K CHIilST. Ur KAI'HAM..
Vatican.
PAINTERS,
SCULPTORS, ARCHITECTS, ENGRAVERS,
AND THEIR WORKS.
BY
CLARA ERSKINE CLEMENT,
AUTHOR OF "A HANDBOOK OF LEGESDAKY AND MYTHOLOGICAL AKT.
WITH ILLUSTRATIONS AND MONOGRAMS
NEW YORK:
PUBLISHED BY KURD AND HOUGHTON.
Cambridge:
1874.
KnN-rwi according to Act of C-mgrew, In the year 1873, bj
'HRA ERSKINE CLKME.VT,
in the Office of the Librarian of Congress, at Washington.
RIVERSIDE,
EtECTROTTPEh A MD P R I K T E D BT
H. O. HOI1GHTON AXD OOMPAST.
To
J. MARION SIMS,
MY FAITHFUL FKIEND AND PHYSICIAN',
I Srfctcate tljtsf Boatt,
AS A TOKEN OF KF^PECT, GRATITUUK, AND AFFKCTION.
CLARA ERSKINE CLEMENT.
2040227
PREFACE.
WHEN I regard a favorite shelf in my library, and consider
how exhaustively the subjects of this volume have been treated,
I feel inclined to hide it away ; but when I think how many
there are in our land who are as much interested in art and
artists as I am, and have not the means to furnish such a shelf,
I hope that this book may do something for them. I have also
endeavored to make it a book of reference which can be easily
consulted and used to advantage in connection with more exten-
sive works. Much time and study have been given to its prep-
aration, and I have aimed to be conscientiously correct as well
as unprejudiced in my decisions between conflicting authorities.
The books consulted are too numerous to be named except in
part, which will be done at the end of this preface. The book
is not necessarily connected with my work on " Legendary and
Mythological Art," but the two are so related to each other as
to be profitably used together.
The arrangement of engraving lists is, so far as I know,
unique, and will render it a useful handbook for connoisseurs
and buyers.
The illustrations are representations of standard works of
art, most of which are seen in European galleries and churches.
A good number of monograms of painters and engravers are
also given.
I have endeavored in a small space to speak not only of
artists as such, but by various facts and anecdotes to convey
an idea of what they were in character and life.
Three comprehensive indexes are added, which will increase
the convenience and usefulness of the book, and in short, in its
entire plan I have adopted the motto of Jan van Eyck, " Als
ich chan." CLARA EKSKINE CLEMENT.
BOSTON, October 14, 1873.
AUTHORITIES CONSULTED.
D'ARGENVILLE. " Abre'ge de la Vic de plus fameux Pcintres."
D'AGINCOURT. " Histoire de 1'Art par les Monuments."
" ANONIMO DI MORELLI."
BKRMUDEZ. "Diccionario Historico dc los mas Illustrcs Profesorcs de
las Bellas Artes en Espana."
BLANC, CHARLES. The Works of.
CARPENTER. " Memoir of Sir Anthony Vandyck."
CUNNINGHAM. " Lives of the most Eminent British Painters."
CROWE AND CAVALCASELLE. " Early Flemish Painters," etc., etc.
CARTON, L'ABBE. " Lcs Trois Freres Van Eyck."
EASTLAKE. "Materials for a History of Oil Painting."
DIDRON. " Manuel d'Iconographie Chre'tienne."
DAVIES. " Life of Muril'.o."
FORD. " Handbook of Spain."
FELIBIEN. " Entrctiens sur les Vies et sur les Ouvrages de plus excel-
lens Peintres."
GAYE. " Carteggio Incdits d'Artisti."
GRIMM. "Life of Michael Angelo."
HELLER. "Das Leben nnd die Werkc Albrecht Diirers."
JA.MESON, MRS. " Italian Painters."
KUGLER. Handbooks of Italian, German, Dutch, and Flemish Paint-
ing.
LANZI. " Storia Pittorica dell' Italia."
" LEGEND v AUREA," THE.
LUBKE. Histories of Painting and Sculpture.
MICHIEL. " Rubens et 1'Ecole d'Anvcrs."
MICHIEL. " La Pcintro Flamande."
MASCHINI " Guida di Venczia."
MILANESI. " Documcnti per la Storia dell 'Artc Scncse."
MERRIFIELD, MRS. Translation of "Ccnnino Cennini's Treatise on
Painting."
NORTHCOTE. " Life of Sir Joshua Reynolds "
PASSAVANT. " Rafael von Urbino," etc.
RACZYNSKF. " Lcs Arts en Portugal."
RUMOUR. "Italienische Forschungcn."
RAMBOUX. " Umrisse ztir veranschaulichung alt Christlichen Kunst in
Italien."
SCIIAFER. Translation, " Das Handbuch der Malerei vom Borgc
Athos."
x AUTHORITIES CONSULTED.
SHAW. " Illuminated Omaments sketched from MSS., etc."
STIRLING. " Annals of the Artists of Spain."
VOSMAER. " Rembrandt Harmens van Rijn."
VILLOT. " Notice des Tableaux du Louvre."
VASARI. " Lives of Painters, Sculptors, Architects," etc.
VERMIGLIOLI. Memoir, etc., of Pinturicchio and Perugino.
WALPOLE. " Anecdotes of Painting."
WORNUM. " Epochs of Painting."
Dictionaries and Catalogues : Bartsch, Bryan, Elmes, Heineken, Nag-
ler, Pilkington, Rigollot, Seguicr, Smith, etc.
ABBREVIATIONS USED.
Card. Cardinal.
Cath. Cathedral.
Ch. Church.
Coll. Collection.
Gall. Gallery.
Gio. Giovanni.
A/MS. Museum.
S. Saint.
LIST OF ILLUSTEATIONS.
TRANSFIGURATION OF CHRIST. Raphael. Vatican . Frontispiece.
APOLLO BELVEDERE. Vatican 6
LAOCOON. Vatican 7
CUPIDS. Francisco Albani 14
MAGDALENE. Correggio. Dresden Gall 26
SPALATRO. Washington Allston 31
THE FALSE PLAYERS. Caravaggio 39
DIRCE. Naples 49
HEAD OF ROXANA. Farncsina, Rome ....... 81
S. LORENZO GIUSTINIANI. Venice . .92
CHRIST. Gio. Bellini 94
RELIEF. From Pulpit, in Sta. Croce, Florence 97
MILKING A GOAT. Nicolas Berchem 100
APOLLO AND DAPHNE. Villa Borghese, Rome 105
A GLORIFIED MADONNA. Berlin Mus. 121
S. JUSTINA AND ALPHONSO I. OF FERRARA. Belvedere, Vienna . . 122
CORONATION OF THE VIRGIN. S. Simpliciano, Milan .... 123
ISAIAH. M. Angelo. Sistine Chapel, Rome 150
MOSES. M. Angelo. S. Pietro in Vincoli, Rome 157
ADORATION OK THE MAGI. Paul Veronese. Dresden Gall. . . . 168
VENUS AND MARS. A. Carracci. Farnese Pal., Rome .... 194
S. JOHN. Cimabue. S. Maria Novella, Florence 209
DEATH OF S. MARY OF EGYPT. Pietro da Cortona 225
GROUP. From a painting by Lucas Cranach ...... 230
S. LUCIA. Crivdli 234
COMMUNION OF S. JEROME. Domenichino. Vatican .... 247
PICTURE BY G. Dow. Vienna Gall 252
THE WOMEN GOING TO THE SEPULCHRE OF CHRIST. Duccio. Cathof
Siena 255
S. CHRISTOPHER. Albert Diirer 258
THE ANCHORITES. Hubert van Eyck. From the Ghent Painting . . 267
ANNUNCIATION. J. van Eyck 268
THE ECSTASY OF S. CATHERINE. Gaudenzio Ferrari .... 273
CORONATION OF THE VIRGIN. Fra Angelico. Acad. of Florence . 276
MADONNA. Fr. Francia. Dresden 284
RELIEF. From Ghiberti's Gate to the Baptistery at Florence . . 296
ZACHARIAS WRITING THE NAME OF JOHN. Domenico Ghirlandaio. S.
Maria Novella, Florence 29V
THE CONCERT. Giorgione. Pitti Gall 305
FIGURE OF S. JOHN. Giotto. From Painting in S. Maria dell' Arena,
Padua . 307
FROM THE HISTORY OF NOAH. Benozzo Gozzoli. Campo Santo, Pisa 313
S. PETRONILLA. Guercino. Capitol, Rome 319
*U LIST OF ILLUSTRATIONS.
P.MJK
MARRIAGE A LA MODE. Hogarth. National Gall. .... :}:;-2
THE HURGOMASTEU MEIER MADONNA. Holbein. Dresden Gall. . 3:i7
CATHEDRAL OK S. MARK. Venice. Byzantine Architecture . . :!44
STILL LIFE. Kalf 35.3
ONE OK THE SEVEN STAGES OF THE PASSION 01 CHRIST. Adam Krafft 357
TEMPTATION OF CHRIST. Lucas van Leyden .... .366
SS. PETER AND PAUL BEFORE THE PROCONSUL FELIX. Filippino Lippi.
Brancacci Chapel :j~2
S. URSULA. Cath. of Cologne. Stephan Lothener 379
CHRISTMOUKNEDBYA.M.II.-. Mantegiia. Berlin Mus. . . . 388
PETER BAPTIZING. Masaccio. S. Maria del Carmine, Florence . . i'.i'i
THE MISERS. Q. Massys. Windsor Castle :i!t7
S. URSULA LANDING AT COLOGNE. Hans Memling. Shrine of S. Ursula 40:2
A SPORTSMAN. Metsu. At the Hague 4<W
S. JOHN. Murillo. Madrid Mus 418
MARBLE COPY OK MYRON'S BRONZE DISK-THROWER. Massimi Pal.,
Rome 4-_'.t
SAMSON OVERCOMING THE LION. Master Nicolau*. Kli)>ter-N T euber^ 4-JS
BEGGARS BESEECHING THE ANGEL OF DEATH TO TAKE THEM. Attrib-
uted to Orcagna. Campo Santo, Pisa 432
CORONATION OF THE VIRGIN. Imhoff Altar-piece, Nuremberg . . 4-18
THE THREE GRACES. Palma Vecchio, Dresden Gall. . . . 441
RELIEF ON A BAPTISMAL BASIN. Lambert Patras. S. Bartln'-K-my,
Liege "440
MADONNA. Perugino. Pitti Gall., Florence 4.".0
RAISING OF LAZARUS. Sebastian del Piombo. National Gall. . . 4:>7
A DONATION OF THE KINGS. Nicoolo Pisano. Pulpit in Baptistery ;it
Pisa 4.")!)
HKAD OF JUNO. Ludovisi Villa. Rome 463
THE DESCENT FROM THE CROSS. Fra Bartolommeo. Pitti Gall. . . 41;:,
MOSES AT THE SPUING. N. Poussin 467
A SATYR. After Praxiteles. Capitol, Rome 40!)
RAPE OF GANYMEDE, Rembrandt. Dresden Gall 489
THE AURORA. Guido Reni. Rospigliosi Pal., Rome .... 497
LEAR, A STUDY. Sir Joshua Reynolds 502
MADONNA IN TmtRA-OoTTA. Luca della Robbia 510
CHILDREN. Rubens. Berlin Gall. -VJ4
PIRONZE GROUP OF THE BAPTISM OF CHRIST. Andrea Sansavino
THK F.XTOMBMENT OF CHRIST. Jacopo Sansavino. From the Bronze
Gate of the Sacristy of S. Mark, Venice .Vi.S
MADONNA. Andrea del Sarto Mo
FROM THK L\ST .Irix.MKvr. Siirnorelli. Cath. of On-ieto . . "'M'
PHTI-I:E. By TVniers. Madrid Gall. . . ....
AI.I.E(.OI:U AI, PICTI KK. Tintoretto. Dop>'s Pal., Venice . . . :<'>
8. SEBASTIAN. Titian. Vatican
THE CHILDIJES OF CHARLES I. Vandyck. Dresden Gall. - . 587
Por.ritAiT Velasquez -v.is
JOHN. Pi. in:. AM> JUDAS. Da Vinci. Milan 608
TOMB OK S. SKIIALD. P. Vischer. Nuremberg 613
I'.Ki.n r i KOM THE To MH OF S. SKI-.AI.D. P. Vischcr. Nurcnibi TLT . 014
THE SIBYL AND THK EMPEROR AUGUSTUS. R. van dcr Weydrn. Merlin
Mu?. . 020
SHED WITH HORSES. Philip Wonvennaus 02- r >
PAINTERS, SCULPTORS, ARCHITECTS,
ENGRAVERS, AND THEIR WORKS.
A.
Aalst or Aelst, Evert or Everhard Van, born at Delft (1602-
1658). Painted dead birds, game, instruments of the chase, armor,
vases, etc., with great exactness in detail. He sometimes used a
clear or white ground, which is very effective. His characteristics
were truthfulness and heaviness of tone. Dresden Gall., Nos. 1126,
1127; Berlin Mas., 921, 936.
Aalst or Aelst, Wilhelm or "William Van, born at Delft, 1620 ;
died at Amsterdam, 1679. The nephew and pupil of Everhard,
whom he much excelled. He also painted still life, dead birds, oys-
ters, herrings, etc. His favorite subjects were fruit and other eat-
ables, with accessories of glass and rich vessels of gold and silver.
He spent some years in France and Italy. Was employed by the
Grand Duke of Tuscany, who presented him with a gold medal and
chain. lie returned to Holland in 1656, where his works were in
great demand. They are of exquisite polish and finish. Dresden
Gall., Nos. 1128, 1129, 1130 ; Berlin Mus., 975.
Abate, Andrea, called Belvedere. Said to have died in 1 732 ;
but there are reasons for believing that he died several years earlier
than that time. He was a Neapolitan, and excelled in painting
(lowers, fruit, etc. He was employed by Charles II. of Spain, and
together with Luca Giordano, who painted figures, executed a part
of the ornamentation of the Escurial.
Abbate, or dell' Abate, Niccolo. Called also Niccolo da Modena.
Born at Modena, 1509 ; died at Paris, 1571. He was a pupil of Bega-
relli, and, it is supposed, of Correggio, which opinion is confirmed
by his knowledge of foreshortening. Algarotti enumerated him
" among the first that had adorned the world." His frescoes in Bo-
logna were models for the Cai'acci ; and Agostino Caracci said in a
sonnet, that in Niccolo were united the symmetry of Raphael, the
terror of Michael Angelo, the truth of Titian, the dignity of Cor-
reggio, the composition of Tibaldi, and the grace of Parmigianino.
1
2 ABBATK ABSIIOVEN.
At the Castle of Scandiano he executed twelve scenes from the
/Eneid, which are now in the Florence Gallery. He painted his fres-
coes so correctly that he seldom retouched them ; this \v;is the secret
of his beautiful coloring. At Bologna he painted a beautiful " Na-
tivity " in the portico of the Lions, and in a frieze in the hall of the
Institute his celebrated " Conversazione/' of ladies and youths. In
l.Wj he accompanied Primaticcio to Fontaineblean, and painted
thirty-eight scenes from the history of Ulysses, from the designs of
that master. After Primaticcio died, Niccolo was employed by the
French court during his life. His "Ik-heading of S. Paul " i- at
Dresden ; and ' The Rape of Proserpine," with a "rich, fantastically
lighted landscape," is at Stafford House Gall.
Abbiati, Filippo, born at Milan (16-10-1715). Pupil of " il Pan-
filo." A man of great talent and powers of invention; well fitted
for colossal labors. He competed with FederigO Bianchi. at Milan,
in painting the ceiling of S. Alessandro Martire. One of his best
works was the " Preaching of S. John the Baptist," at Sarono.
Abbot, Lemuel, born at Leicestershire, England ; died 1803. Pupil
of Francis Hayman. Truthfulness was his characteristic, and por-
traits of men his best works. Those of " Cowper " and "Lord
Nelson " were especially fine.
Abel do Pujol, Alexander Denis, born at Valenciennes (1787-
1861). Succeeded Gros, and became a member of the Institute in
1835. He painted " The History of Joseph" on the ceiling of the
Antique Museum of the Louvre. In Notre Dame an altar-piece.
"The Burial of the Virgin," and "The Preaching of S. Stephen,"
in S. Hhienne du Mont, are by this master.
Abel, Joseph, died at Vienna (17G8-1818). Pupil of Fiiger. He
was employed by the Czartorysky family. II- passed six years in
Rome, and gained a reputation by his pictures illustrative of ancient
history and Greek poetry. At Vienna he. painted large historical
subjects and decorated the theatre.
Abildgaard, Nikolai, born at Copenhagen (1744-1800). He has
been called the best painter of Denmark. His principal pictures
were subjects taken from the ancient poets. When the palace of
Christianliori: was burned in 1794. some of his best works were de-
stroyed. Fiissli relates that this so affect cd his mind that he painted
but little afterwards.
Abshoven, or Apshoven (1648-1690). Kugler calls him Mi-
chael; he i-: also called Theodore van Abshoven. and F. van Ap-
shoven. He was a favorite scholar and successful imitator of David
Teniers the younger. His pictures, like those; of his master, repre-
sent village festivals, scenes from peasant life, etc. They are fre-
quently seen in Flanders, where they are placed in the best collec-
tions. Dealers in pictures have, been in the, habit of taking his
name from his works and substituting that of Teniers.
ACEVEDO ADRIANO. 3
Acevedo, Cristobal, born at Murcia. Pupil of Bartolome Cardu-
cho at Madrid in 1 585. He painted at Murcia for the chapel of the
college of S. Fulgencio a picture of that saint adoring the Virgin,
and some other works for convents, which prove him to have been a
good artist.
Achen or Ach, Hans Van, born at Cologne
y\ 1552; died at Prague 1615. A pupil of Jer-
righ, afterwards an imitator of Bartholomew
Spranger. He passed some time in Italy, and after his return was
employed by the courts of Cologne and Prague. Specimens of his
ecclesiastical pictures are to be seen in the ch. of Our Lady, and
in the Jesuit ch. at Munich, where he painted the "Resurrection
of Christ," and the ' Finding of the True Cross by S. Helena." Three
of his pictures are in the Vienna Gall.: " Bathsheba Bathing,"
after the style of Tintoretto ; ' Bacchus with Venus ; " and " Jupiter
and Antiope."
Achtschelling, Lucas, born at Brussels (about 1570-1631). Pupil
of Louis de Vadder. Painted landscapes, which are highly esteemed
in the Low Countries. Three large works of his are in the collegiate
ch. of S. Gudula at Brussels.
Acosta, Cayetano, born in Portugal (1710-1 780). It is not known
under what master he studied, if at all, but he settled in Seville,
calling himself a sculptor. He made a high altar for the collegi-
ate ch. of San Salvador, in which he disregarded all architectural
rules. Here, as in other places, a more beautiful structure was re-
moved to make way for his. The barefooted friars of Mercy em-
ployed him to carve three figures to replace those of Montanes ; and
CVan Bermudez asserts that even the inestimable works of Alonso
Cano were put aside to be replaced by the deformities of Acosta. He
left a son and nephew, also wood-carvers, and no better than himself.
Adda, Conte Francesco d', born at Milan, died 1550. An ama-
teur painter of small pictures on panels and slate, for private cabinets.
He imitated Leonardo da Vinci. An altar-piece in the ch. of S.
Maria delle Gra/ie at Milan, is attributed to him.
Adolfi, Giacomo, born at Bergamo (1682-1741). In the ch.
of the monastery Del Paradiso, at Bergamo, is his picture of the
" Crowning of the Virgin," which is considered one of his best ; that
of the " Adoration of the Magi " is in the ch. of S. Alessandro della
Croce.
Adolfi, Giro, born at Bergamo (1683-1758). Brother of Giacomo.
Distinguished himself in fresco painting in the edifices of Bergamo.
The "Four Evangelists" in the ch. of S. Alessandro della Croce,
and the "Deposition from the Cross " in S. Maria delle Grazie, are.
his principal works. The " Decollation of S. John," by this master,
in the ch irch at Colognola is a'so admired.
Adriano. A barefooted Carmelite of Cordova. Pupil of Paul
4 ADRIAXO AETK >N.
de Cespedes. His convent had for a long time a Mairdelene by
Adriano, which was considered a Titian. He was in tin- haliit of
destroying his works because they seemed to him so interior. But
his brethren have preserved a few by interceding in the name- i
souls in purgatory, a fraud easily forgiven by the lover of art. He
left a great name; " great in art. and still greater in piety."
Adrianssen, Alexander, born at Antwerp (1625-1685). An ex-
cellent painter of still-life. He painted fish remarkably well. Berlin
Mus., Nos. 922, 952, and 240.
Aelst, Everhard Van. See Aalst.
Aelst, Wilhelm Van. See Aalst.
Aerts, Richard, born at Wyck 1482; died at Antwerp 1.177.
Son of a poor fisherman. When a boy his leg was so badly burned,
as to necessitate amputation. During his confinement he manifested
such a talent for sketching, that he was placed with an artist to
study, John Moestaert, the elder, of Haerlem. He became one of
the ablest artists of his time. His first works after leaving school,
were two scenes from the life of Joseph, painted on the folding
panels of an altar-piece in the great ch. at Haerlem. He removed
to Antwerp, and was admitted to the Academy there in l.~>2<>.
Aertszen, Pieter, called Lange Peer, born at Amsterdam.
Writers differ as to the year of his birth, 1.107-17, and 19, are all
given. Died at Amsterdam in 1573. He was a pupil of Allard
Claessen. When quite young he painted genre pictures, whieh were
spirited and well colored. He then applied himself to Scriptural
subjects. He painted numerous large altar-pieces in Amsterdam,
Delft, Louvain, etc. These were destroyed by the Iconocla>ts in
1566. One of his most celebrated works was an altar-piece for the
ch. of Our Lady at Amsterdam. It was a triptych, the centre
compartment represented the " Death of the Virgin Mary," with the
Nativity and the Adoration of the Magi upon the folding panels.
For this he is said to have received two thousand crowns. Michael
Coxie of Mechlin, a great artist, was asked to paint an altar-piece
for a new church in Amsterdam, but when he saw the works of
Aertszen he refused, saying that they had no need of him while they
had such an arti.-t in their own city. He sometimes painted market
M't-ncs, one of which is in the Vienna Gall., Antwerp Mus.. No. l.V.t;
Berlin Mus.. No. 726. His three sons, Peter, Arnold, and Theodore,
were all painters.
Action. A Greek painter, sometimes said to have lived in the time
of Alexander ; but Lucian, in his account of him, distinctly savs that
he did not live in ancient times, and it is generally believed that he
was of the time of Hadrian and the Antonines. ll\< great work
described by Lucian, reproented the " Nuptials of Alexander and
Roxane," with Erotes busy about them, and the armor of the kin-j.
This picture excited so much admiration when exhibited at the
AKTION AGASIAS. 5
Olympic games, that Proxenidas, one of the judges, exclaimed,
" I reserve crowns for the heads of the Athletic, but I give my
daughter in marriage to the painter Action, as a recompense for his
inimitable picture." This painting was carried to Rome, where
Lucian saw it. Aetion seems to have excelled in the art of mixing
and laying on his colors.
Afesa, Pietro. Flourished about 1650. Was called della Basili-
cata, because a native of the province of that name, a part of the
kingdom of Naples. His works are in many churches and convents
of Naples. One much esteemed is in the chapel of the monastery at
Marsico Xuovo, and represents the " Assumption of the Virgin
Mary." Domiuici mentions Afesa very favorably.
Agabiti, Pietro Paolo, born at Sassoferrato. Some of his works
are in that place, in the ch. of S. Agostino, and are dated 1514.
Agaptos. Spooner says that " According to Pausanias, Agaptos,
a Grecian architect, invented the porticoes around the square attached
to the Greek stadii, or racecourses of the gymnasiums, which gained
him so much reputation, that they were called the Porticoes of Agap-
tos, and were adopted in every stadium."
Agar, Jacques d', born at Paris 1640; died at Copenhagen 1716.
He was a scholar of Simon Vouet, but became a portrait painter.
He went to England and painted many of the nobility of the reign of
Queen Anne. He was afterwards invited to the Danish court, where
he was much patronized. His portrait, painted by himself, is in the
Florentine Gall, of Artists.
Agasias. Sculptor of Ephesus. Three Ephesians of this name
are mentioned. Agasias, son of Dositheus, whose name is on the
Borghese " Gladiator ; " Agasias, son of Menophilus, a sculptor in the
island of Delos when it was tinder Roman sway, about 100 B. c.; and
Agasias, father of Heraclides, on a statue in the Louvre, 411. This
was probably the name of an Ephesian family of artists, or had been
made famous by one great master. The Borghese " Gladiator," Louvre,
304, and the " Apollo Belvedere" were discovered among the ruins of a
palace of the Roman Emperors at Antium. From the attitude of the
so-called " Gladiator," it is plain that it represents a warrior contend-
ing with a horseman. Miiller thinks it may have been taken from a
large battle group, in order to finish it with greater refinement of art.
Thiersch thinks it may be Achilles contending with Penthesilea.
This Agasias probably lived about 400 B. c. The sculptor of the
Apollo Belvedere is not known. Until recently it has been thought
that the god held a bow ; but the discovery of a statuette, which
agrees with it in all essential points, has afforded a much more
satisfactory explanation of the action represented. It is that he
held the JEgis with the Gorgoneia, which had a paralyzing effect, and
was lent to Apollo by Jupiter, according to Homer (" Iliad," xv. 318,
el seq,). Ludwig Preller believes that this statue represents Apollo in
6 AGASIAS AGATHARCUS.
the battles with the Gauls before Delphi. Liihke says : " Not till
now have we understood the Apollo Belvedere Ardently ex-
cited, and filled with divine anger, with which is mingled a touch <>t
triumphant scorn, the intellectual head is turned sidewards " (sec
figure), "while the figure with elastic step is hastening forwards.
The eye seems to shoot forth lightning; there is an expression of con-
tempt in the corners of the mouth ; and the distended nostrils seern
to breathe forth divine anger."
APOLLO BELVEDERE.
Vatican.
Agatharcus, an Athenian painter. Vitruvius says he was the in-
vent.or of scene-painting, and painted a scene for a tragedy which
/Ksehylus exhibited. This contradicts Aristotle, who says that
Sophocles introduced this art. Dr. Smith thinks that pnihably
scene-painting was introduced towards the close of the career of
.I'^ehvlus, but was not in general use until the time of Sophocles.
There wa< another Greek painter named Agatharcus, of the time ot
Alcibiadcs, who had no great merit, and prided himself chiefly on
the rapidity with which he worked.
AGELADAS AGESANDER. 7
Ageladas, native of Argos. Distinguished as a sculptor, and
the instructor of the three great masters, Phidias, Myron, and Poly-
cletus. The contradictory statements of the writers who mention this
name, have given rise to much discussion as to when he lived, all of
which has resulted in the opinion that there were two sculptors of
this name. The instructor of Phidias, the Argive, was most eminent,
and was born about 540 u. c. The other a native of Sicyon, who
flourished in the 87th Ol. as mentioned by Pliny, or about 432 B. c.
Agesander, native of the island of Rhodes. Pliny is the only
writer who speaks of him, and but one work of his is known, the
' Laocob'n " of the Vatican. In this he was assisted by Polydorus and
Athenodorus. Another statue, found at Antium, shows that Atheno-
dorus was the son of Agesander. It is thought not unlikely that
Polydorus was also his son, and that the figure of Laocoon was exe-
cuted by the father, and the remaining figures by the sons. This
group was found near the baths of Titus, on the Esquiline Hill, in
1506. It is considered a most perfect work by all competent judges,
and is very wonderful from the fact, that while it portrays the most
intense suffering in every feature, limb, and muscle, it still has the
sublime repose of true Grecian art. Laocoon was a priest of Apollo,
AGESAXDKR AGNOLO.
and had committed some crime against that god. who sent two im-
mense serpents from the island Tenedos to kill him just as he was
ottering a sacrifice, assisted by his two sons. Laocob'n had opposed
the reception into Troy of the horse left by the Greeks; and his
death was believed by the Trojans to be a divine punishment for
this; therefore a breac.li was made in the walls and the horse admit-
ted ; thus the death of the priest decided the ruin of Troy.
Agi, Andrea Cardelle. The Berlin Museum has a marriage of
S. Catherine which is attributed to this painter. The expre.->ion is
good. A small " Madonna " by him which was in the Beckford Coll.,
was remarkable for its fused execution.
Aglaophon. Greek artist, native of the island of Thasos. The
father and teacher of Polygnotus. He had another son. Aristophon.
He probably lived about Ol. 70 (B. c. 500). Quintilian prai.-ed
his coloring. Pliny speaks of a younger Aglaophon, contemjMira-
neous with Alcibiades. He was probably the son of Aristophon, .-is
the Greeks bore the name of the grandfather rather than the father.
In one picture this artist represented the presiding geniuses of the
Olympic and Pythian games, Olympias and Pythia. as crowning
Alcibiades, and in another, the genius of the Xemean games held
Alcibiades in her lap. Alcibiades could not have won am victories
which merited these honors before Ol. 91 (B. c. 416). It is said
that this Aglaophon is the first artist who represented Victory with
wings.
Aglio, Andrea-Salvatore di Antonio di Arzo, l>orn at Lugano
(173G-1786). Said to have discovered the method of fixing colors
on marble.
Agnolo, Sienese sculptor. See Agostino and Agnolo.
Agnolo, Baccio d 1 (1460-1543). In his youth he was an ex-
cellent artist in inlaid works. lie executed some fine things in wood
for the churches of S. Maria Novella, and the Xunziata at Flor-
ence. These last were removed when the Xunziata was re-adorned.
After studying zealously at Home, he returned to Florence, where he
became a great architect. He erected several arches of triumph
when Pope Leo visited that city. His work-shop, which he seldom
left, became the rendezvous of artists and the young men of Florence,
as well as strangers there, and in it many discus>ions were held. At
length after he had proved his ability, the most magnificent buildings
were committed to his care. lie assisted with other architects to
construct the Great Hall of the Palace, and carved with his own hand
the frame-work for the large picture sketched by Fra Bartolomeo.
lie also took part in the erection of the steps leading to the Hall
now called that of the D.igento. and also the marble doors to the
same. On the Piazza di Santa Trinitii he constructed a palace for
Gio. Bartolini. This was ridiculed in sonnets, and every way. be-
cause of its unusual style, and festoons of foliage hung on it as on
AGNOLO AGORACRITUS. 9
a church during a festival. This drove Baccio almost insane, but he
knew the work was good, and he had his revenge by carving this
inscription above the door, Carpere prompdus quam imitari. He then
built many other beautiful palaces ; and for Giovan-Maria Benintendi
made a frame-work for certain pictures which was esteemed ex-
traordinarily beautiful. He made the model for the ch. of S. Giu-
seppe at S. Onofrio, and erected its portal. This was his last
work. He directed the work of the Campanile of Santo Spirito of
Florence, but he did not finish it He also built the bell-tower of
S. Miniato-in-Monte. lie was at length appointed architect of
S. Maria del Fiore, and made a model for the gallery encirclino-
the cupola, but Michael Angelo so criticised it, that a discussion was
held before competent judges, and in the end neither plan was
adopted. Baccio then attended to the pavement of S. Maria del
Fiore and to the care of many other buildings that were trusted to
him. He was eighty-two years old when he died. He was buried
in S. Lorenzo. His three sons, Giuliano, Filippo, and Domenico
were all artists.
Agnolo, Giuliano, son of the preceding, gave much of his atten-
tion to architecture, and by the favor of the Duke Cosimo he suc-
ceeded to his father's office at S. Maria del Fiore, and finished what
he had there commenced, as well as in many other buildings which
Baccio had left unfinished. He made at Pescia a beautiful tomb,
which was surrounded by a chapel, for Messer Baldassare, and also
restored his house and furnished it. He built a house at Montughi,
a short distance from Florence, for Messer Francisco Campana, and
at Colle another house for the same Campana. and a most magnifi-
cent palace al Tedesco for Messer Ugolino Grivoni, Signer of Alto-
pascio. But space would not allow the enumeration of all his works.
He was associated also with Baccio Bandinelli in various affairs, one
of which was the reconstruction of the great hall in the ducal palace.
which was a failure, according to Vasari ; another was the choir in
S. Maria del Fiore, etc., etc. He also made couches, picture-frames,
and various wood carvings Died 1555.
Agnolo, Domenico. He excelled Giuliano in wood-carving, and
was a reputable architect. He completed the terrace for the house
of the Xasi family, which his father had commenced, and executed
several good architectural works. He promised to excel both his
father and brother, but died before he reached his prime.
Agoracritus, born in the island of Faros. Scholar of Phidias.
Brass-caster and sculptor. He was so much the favorite of Phidias,
that the master is even said to have put the name of this disciple
upon some of his own works. Four of the works of Agoracritus are
mentioned by different authors : namely a statue of Zeus ; a statue of
the Ionian Athene, in the temple dedicated to her at Athens ; a statue
in the temple of the great goddess at Athens, probably a Cybele ;
10 AGORACMTUS AGOSTINO.
and the Rhamnusian Nemesis. It is said of this last that it was
originally a Venus, for Agoraeritus and Alcamenes contended with
each other in making a statue of that goddess, and when the Athe-
nians gave the preference to the statue of Alcamenes, Agoraeritus
changed his to a Nemesis, and sold it to the people of Rhamnus.
making the condition that it should not be set up in Athens. Al-
though this story is often repeated, it is not known to he true, and
Pausanias says that this same Nemesis was the work of Phidias ; hut
be that as it may, there is no doubt that Agoraeritus was a great
sculptor from 440 to 428 u. C. and the other works attributed to him
were undoubtedly his own.
Agostino and Agnolo, Sienese sculptors, died l.'US and 1350.
In 1284 Giovanni Pisano visited Siena to prepare designs for the
Cathedral. Agostino, said to have been at this time about fifteen
years old, became his pupil. So great was his talent, and his appli-
cation to study, that he soon surpassed his co-diseiples. Meantime
his young brother, Agnolo, had made some secret attempts at sculp-
ture, and from constant intercourse with Agostino and other artists
had acquired a love for their art. At length Agostino prevailed
upon Giovanni to employ Agnolo, together with himself, in executing
a marble altar for Arezzo. Agnolo so acquitted himself, that Gio-
vanni continued to employ the two at Pistoja. Pisa. etc. They ;dso
studied architecture, and in 1308 were employed by the Nine, who
ruled Siena, to make designs for a palace. When Giovanni died they
were appointed architects to the State, and in 1317 directed the
building of the north front of the Cathedral. After desi'_riiini_ r the
Porta Romana and other ^ales, a church, convent, etc.. they were
invited to Orvieto by the Tolomei family, and there executed sculp-
tures for the ch. of S. Maria. In 132G Giotto visited Orvieto,
and pronouncing the Sienese brothers the best sculptors who had
worked there, recommended them to Piero Saccone da Pietramala,
:\s the best persons he could employ to construct the tomb of Guido,
bishop and lord of Arezzo. This work they did after the plan of
Giotto, which occupied them three years. The tomb was very beau-
tiful, and was adorned with sixteen relievi. representing the principal
events in the life of Guido. They then executed an altar for the
ch. of S. Francisco at P>olo_rna. and when '.he I 'ope promi-ed to
remove to that city, tlioe >culp;ors were employed to make designs
for the eastle fortress to be built for his reception. AYhile they
were at Bolo_nia the Po burst its banks and caused great destruction
of life and property. Tins,' brothers found means to rccondnet it to
its channel, and for this were honorably rewarded by the lords of
Mantua, and the house of Kste. In 1338 they returned to Siena.
where a new church wa- erected after their designs, and they were
employed to construct a fountain on the principal piazza of the city.
This was successfully done, and the water let on June 1, 1343, greatly
AGOSTINO AGUIKRE. 1 1
to the joy of the Sienese, and the glory of the artists. After several
other works in Siena, Agnolo went to Assisi to build a tomb, while
Agostino remained at Siena in the service of the state, where he
soon after died. It is not known where Agnolo died.
Agresti, Livio, called also Livio da Forli, from the place of his
birth, the date of which is not known, died about 1585. He was
a fellow-student with Luca da Ravenna under Pierino del Vaga at
Rome. Vasari calls him the rival of Luca. There are works of
Agresti in many churches and public buildings at Rome. In S.
Caterina de Funari he painted an " Annunciation" and " SS. Peter
and Paul." In a chapel of S. Spirito in Sassia, the " Assumption of
the Virgin." Pope Gregory XIII. employed him to assist in the great
works at the Vatican, where he painted a fresco in the grand stair-
case, representing the submission of Philip of Arragon to Pope
Eugenius III. But his best works arc in Forli. In a chapel of the
Cathedral he painted the " Last Supper," and in the vault some fine
figures of the prophets. He also painted seven pictures on cloth of
silver, to be used as hangings for the Card, of Augusta, who sent
them as a present to the King of Spain, in which country they were
thought, very beautiful. lie also painted a picture on cloth of silver
for the ch. of the Theatines in Forli.
Agricola, Christopher Ludwig, born at Regensburg (1GG7-1 719).
Portrait and landscape painter. He studied principally from nature
when travelling, and his pictures resemble those of Poussin. He
lived some time at Naples, and some of the pictures he painted there
were carried to England. In the Dresden Gall, there are two works
of his, Nos. 1784 and 1785. The Vienna Gall, has one of his finest
landscapes, representing the ruins of a monument and the pillars of
a temple, seen between the trees.
Agua, Bernardino del, a Venetian painter. He executed frescoes
in the cloister of the court of the Evangelists at the Escurial. These
he did under the direction of Tibaldi, and after the sketches of that
master, who attributed the defects in them to the haste with which
Philip II. would have them done, rather than to any fault of Agua.
Agiiero, Benito Manuel de, born at Madrid (1G26-1670), pupil
of Martinez. When Philip IV. visited the studio of that master he
was attracted by Aguero's wit as much as by his artistic powers.
He painted a " S. Ildefonso " for the nuns of S. Isabel, which was
like Titian in color. His usual subjects and those in which he ex-
celled were battle-scenes and views of cities.
Aguiar, Tomas de, a gentleman of Madrid, flourished about
1660. He acquired considerable reputation for small pictures in oil.
He painted the portrait of Antonio de Solis, who in return wrote an
extravagant sonnet in praise of Aguiar.
Aguirre, Francisco de, a pupil of Caxes. He was a portrait-
painter and restorer of pictures, to which last profession he espe-
1 2 AGUIIiRE AKERS.
cially devoted himself. He commenced at Toledo in 1641], and was
employed to restore the pictures in the Cathedral. Like manv
others who have done like work, he did not adhere to the original.
but introduced his own ideas, thus destroying the true value of the
paintings.
Ainemolo, Vincenzo, born at Palermo, died 1540. The most
important Sicilian artist of the sixteenth century. It is believed
that he went to Naples, where he studied the style of Perugino. He
went at length to Koine, and became famous as an imitator of Raphael.
His works are mostly in Palermo, and the best one represents the
"Virgin and Child" between four saints. It is in the ch. of 8.
Pietro Martire. At S. Domenico there is a " Descent from the
Cross," which is. in some of its figures, almost a copy of Raphael's
' Spasimo di Siciiia." In several other churches of Palermo, and in
its gallery, there are works of this artist.
Aikman, William, born in Aberdeenshire (1682-1731). lie
studied law, but in 1707 left Scotland, and travelled extensively on
the Continent, and in the East. He next spent some years in Rome,
and studied painting under Sir John Medina, and then established
himself as a portrait-painter in Edinburgh. lie had no success. ;;nd
in 1723 removed to London, where he became the friend of Sir (', 1-
frey Kneller, whom he imitated. His career was short. There is
a head of Gay by Aikman, which is good. lie bad <_ r ood literary
parts, and was the friend of Allan Ramsay, and of Thomson, who
wrote his elegy. He was taken to Scotland for burial.
Aken, Joseph van, died in London 1749. A Flemish artist, he
]>a--ril most of his life in England, and painted on velvet and satin
with great success. He was often employed by other artists to paint
figures in landscapes, in which he was very .skilful.
Akerboom. Dutch painter of interiors, who flourished about the
middle of the seventeenth century. His pictures are very highly
finished.
Akers, Benjamin, called also Paul, born at Saccarappa, Maine,
1825, died at Philadelphia, 18ol. His father owned a saw-mill, in
which as a boy he spent much time. His most striking characteris-
tics were intense attachments to persons and places, and extreme
love of adventure and travel. When at work in the saw-mill, by
means of a turning lathe, he made beautiful toys, and specimens i-f
ornamental wo. id-work, from original designs, lit- invented a -liiu-
gle machine, which is now in use. He went to Portland and tried to
be a printer. He also attempted to paint, but it was not until his
attention was attracted to a plaster cast that his true vocation was
revealed to him. He went in 1<SC) to Boston and was instructed in
plaster-casting by Joseph C'arew. He returned home, and after a
few attempts at moulding, in a good degree successful, he opened a
studio in Portland wish Tilton, the landscape-painter. During the
AKERS ALBANI. 13
two following years he made several portrait busts, so excellent as to
establish his reputation. In 1852 he went to Florence, where he
passed a year in study and labor. Returning home he made his
" Benjamin in Egypt," which was burned in the Portland Ex-
change. He passed a winter in Washington, where he made models
for portrait busts of many eminent men. Some medallions also,
which were much admired, especially that of Samuel Houston. He
modelled a head of " Peace," and visited Providence, R. I., to
execute commissions in portrait busts. In 1854 he went to Rome,
and finished in marble the heads modelled in America. He copied
works in the Vatican to fill American commissions, and also executed
several original designs; " Una and the Lion," "Diana and En-
dymion," " Girl pressing Grapes," " Isaiah," " Schiller's Diver,"
and the ' Reindeer," being those most admired. He then went to
Venice, Switzerland. Paris, and England, and again to Rome, where
he made a colossal head of Milton, the "Lost Pearl Diver," and
" Saint Elizabeth of Hungary," which last was often repeated for
hi* American admirers and patrons. He was never strong, and his
health now failed. He came to America, but was obliged soon to
seek a milder climate. He returned to Rome, and the last work he
did there was a medallion likeness of his wife. In 1860 he came
a^ain to America, and went to pass the winter in Philadelphia. He
devoted himself to his loved art as much as his failing strength
would allow, and left the head of a cherub still unfinished when he
died. His religious and sensitive character acquired for him from
his young companions the nickname of S. Paul. By this name
he " became endeared to his friends and known to fame." His love
of Nature and of children was intense. " It makes no difference,"
he would say, " what happens to me, so long as I can hear sparrows
sing and see children roll on the grass." His literary attainments
were fine, as is proved by his paper on " Art-expression " and
" The Artist Prisoner." Many of his writings have never been
given to the public.
Alba, Macrino d' or Giangiacomo Pava. Lived mostly at
Turin, and flourished about 1.300. In the Stadel Institute at Frank-
fort, there is a picture of the "Madonna," with the histories of
Joachim and Anna on folding side panels, by this master. It is
" dignified and full of character."
Albani, Francisco, born at Bologna (1578-1660). Son of a silk
merchant. His father desired to bring him up to his own profession,
but his decided art -genius so asserted itself that he was placed in the
academy of Denys Calvert, where Guido Reni was a pupil. Albani
and Guido became friends, and when the latter went to Rome and
entered the school of the Caracci, Albani quickly followed. Here
his talent soon brought him to notice, and there are many of his
works in Rome. When Annibale Caracci was employed on the
14 ALBANI.
frescoes of S. Giacomo degli Spagnuoli, he fell sick, anil by his
recommendation Albani was selected to linish them. He also painted
the mythological frescoes in the Verospi (now Torlonia), palace.
In the Borghese Gall., and at Turin, are his famous pictures of the
"Four Elements." He also painted for the Duke of Mantua the
stories of " Diana and Actaeon," and Venus and Cupid." Returning
to Rome, he painted the large pictures in the Tribune of the Ma-
donna della Pace and the "[Martyrdom of 8. Sebastian" in the
church of the same name. His best religious works at Bologna an- the 1
" Baptism of Christ " in S. Giorgio, the " Annunciation " in S. Barti*-
lomeo, and the " Resurrection " in S. Maria de Galeria. But his best
pictures are those of mythological and fanciful subjects, in which both
figures and landscapes were well done. Beauty was his characteristic
rather than power. Lanzi calls him the Anacreon of painting, and
says, " Like that poet with his short odes, so Albani from his small
pictures acquired great reputation, and as the one sings of Venus
and the Loves, and maids and boys, so does the artist hold up to the
eye the same delicate and graceful subjects." He had every advan-
tage in his own home for the perfection of such pictures. His villa
was well situated, and afforded him lovely views of nature. His wife
was beautiful, and bore him twelve children, so lovely that not only
he. but the sculptors Algardi and Fiammingo are said to have used
them as models. The works of Albani are in almost every lai .
rrrins. nv AI.BANI.
lery, for he either painted duplicates, or caused his scholars to paint
those to which he put the finishing touches. The " Toilet of Venus,"
ALBANI. 15
at the Louvre, and the " Landing of Venus at Cytherea," in the
Chigi Palace at Rome, are among his finest works. One of his oft-
repeated and pleasing subjects is the " Infant Christ " asleep on
the cross.
ENGRAVINGS AFTER THE WORKS OF ALBANI.
Engraver, AGUILA. Francisco Faraone. The Last Supper.
Engraver, ATDRAX, John. Infant Saviour regarding the Cross
presented by Angels.
Engraver, AVELINE, Peter. The Wrath of Neptune. Inscribed,
Quo* ego.
Engraver, Avail., Joan Jacques. Diana and Actaeon ; The Bath-
ers surprised.
Engraver, BAKTOLI, Pietro Santi. The Birth of the Virgin.
Engraver, BAUDET, Stephen. The Virgin teaching the Infant
Jesus to read ; The Woman of Samaria ; Four plates of the Loves
of Venus and Adonis ; Four circular prints of the Four Elements.
Engraver, BOXAVEUA, Domenico Maria. The Baptism of our
Saviour by S. John.
Engraver, CAN ALE, Giuseppe. Adam and Eve driven from Par-
adise.
Engraver, CHATEAU or CHASTEAU, William. The Baptism of
Christ by S. John.
Engraver, CREPY or CKESPY, John and Louis. The Nativity.
Engraver, DAULI.E, John. A Charity with Three Children.
Engraver, DUFI.OS, Claude. The Annunciation.
Engraver, FARIAT or FARJAT, Benoit. The Holy Family with S.
John.
Engraver, FREY, James. A Charity with Three Children ; The
Rape of Europa.
Engraver, FKE/ZA, Giovanni Girolamo. The Gallery of the
Verospi Palace. Seventeen plates.
Engraver, HAINZELMANX, Elias. Christ appearing to Magda-
lene.
Engr<ircr, LAXDR Y, Peter. Christ and the Woman of Samaria.
Engraver, LASXE, Michael. The Virgin in the Clouds, with a
crescent; oval.
Engraver, MOLA, Pietro Francisco. Holy Family with Angels
presenting Flowers to the Infant Jesus.
Engraver, MOLA, John Baptist. Cupid in a Car, drawn by
Loves.
Engraver, PICART, Stephen. The Ecce Homo, with Three
Angels.
Engraver, VALET or VALLET, William. The Holy Family,
called La Laveuse.
Engraver, VOTILLEMONT, Sebastian. Marriage of S. Catherine.
1 C ALBAXI ALBEHTINELLI.
Albaui or Albano, Gio. Baptiste, died 1MN. Broth.-r of Fran-
cisco, whom he imitated so closely that his pictures were sometimes
mistaken for his.
Alberelli, Giacomo, born at Venice (1GOO-1650). Pupil of Ja-
coj>o Palma, the younger, with whom he painted thirty-four years.
Several pictures by Alberelli are in his native city, the most esteemed
being the "Baptism of Christ " in the ch. of the OgnissantL
Alberici, Enrico, born at Vilminore in Bergamo (1 714-1 77;>).
Pupil of Ferdinando Cairo of Brescia. He had a good reputation.
and painted his principal pictures for the ch. Dei Miracoli. at
Brescia.
Albertinelli, Mariotto, born at Florence (1474-1515). His
father placed him with a goldsmith, but he determined to be a
painter, and entered the school of Cosimo Rosselli, where he was the
intimate friend of Baccio della Porta, called Fra Bartolommeo.
Mariotto imitate:! Baccio so closely as to render it difficult to distin-
guish between the two, especially in some works which they did in
company, and he was called a second Bartolommeo. After they left
Rosselli they dwelt together. Mariotto became the protege of the
wife of Pietro dei Mediei, and painted for her several pictures,
besides her own portrait. When Pietro was banished, Mariotto
returned to the house of Baccio. When the latter became a monk,
Mariotto was almost insane with grief, and could interest himself in
nothing. Baccio had left unfinished the " Last Judgment " for the
Cemetery of S. .Maria Xuova, and as he had received p ; irt pay-
ment for it he desired Mariotto to complete it. He did this with
great care. He could not equal Baccio, because not ecjnallv uifted
by nature; but the pictures of both had the same life in action,
elegance in proportion, and sharpness and careful minutenos in
finish. His earlier works were lost. One of the oldest known is
No. 25 Louvre, " Christ appearing to the Magdalene." In 1503 he
executed " The Salutation," now in the Uffizi, and generallv consid-
ered his master-piece, lie next painted the fine "Nativity." No. 365
Pitti Gall. Soon after this Fra Bartolommeo resumed his brush
and became the head of the work-shop of S. Marco. Mariotto
painted "The Crucifixion," No. -24 Louvre, and received many pupils,
lie spent much time attempting to improve oil mediums. hcin espe-
cially dissatisfied with the white, but his experiments amounted to
little. He could not endure criticism, and became so disgusted with
it that he forsook painting and kept a tavern. lie declared himself
then "where there was no embarrassment with perspective, fore-
shortenings, or muscles, and no criticism or censure to dread ; " and
that his former calling "was to imitate flesh and blood, whereas
that lie had adopted made both llesh and blood." But he soon hated
this more than painting, which he resumed. Late in life lie went to
Rome, where he became ill. He was taken to Florence on a litter,
ALBERTINELLI ALBERTI. 1 7
and died. The following are some of his works not yet mentioned :
A "Trinity," No. 73. Florence Acad. of Arts; an "Annunciation" at
Munich, Pinacothek, Saal. No. 545 ; "Marriage of S.Catherine,"
on wood. Hermitage, St. Petersburg, No. 21; an " Assumption "
in Berlin Mus., painted by Mariotto and Baccio ; National Gall.,
London, No. 645, and many others in the Prince Gortschakoff' Gall..
St. Petersburg ; the Ex-Pourtales Gall., Paris, etc.
Alberti, Leon Battista, born at Venice (1404-1472). The name
of Alberti is distinguished in all branches of Art. Leon was :;n
architect and of a noble family of Florence ; at the time of his
birth his parents were in Venice, in order to escape persecution at
home. He was a man of superior literary talents and cultivation, a
fine mathematician and geometrician. He wrote ten books upon
architecture in Latin, three books on painting, and other smaller
works. Under Nicholas V. and in connection with Bernardo Ros-
sellino, he superintended numerous public works at Rome. At
Rimini, for Sigismondo Malatesta, he made a model for the ch. of
S. Francisco. He was next employed by Gio. di Paolo Rueellai,
who had determined to adorn the principal facade of S. Maria Novel-
la at his own cost. This work was completed in 1477, and was much
admired. For the Rueellai family he also designed palaces, and a
chapel in the ch. of S Pancrazio. For Ludovico Gonzaga, Mar-
quis of Mantua, he modelled the chapel which he built in the Nun-
ziata at Florence. He went afterwards to Mantua in the service
of the same nobleman, and made designs for the ch. of S. An-
drea, and other works. Leon painted a few pictures, which have
been destroyed ; they had no great merit, but served to show that he
could express himself with brush or pencil. All writers who men-
tion him agree that as a refined, elegant, and scholarly gentleman he
had few equals.
Alberti, Michele, born at Borgo S. Sepolcro, 1527. Pupil of
Daniello Ricciarelli, called da Volterra. His principal work was a
picture of the " Murder of the Innocents " in the church of Trinita-
di-Monti at Rome.
G Q Alberti, Cherubino, born at Borgo S. Sepolcro
/ 13 '/V, (1552-1615). Son of the preceding, by whom
JL J_) / _/ V3 he was instructed in painting. His principal
pictures were in the church of S. Maria in Via at Rome. He
is chiefly distinguished as an engraver. It is not known with whom
he studied this art, but his plates are remarkable for his time. They
seem to have been executed entirely with the graver, the point not
being used. His figures were better than his draperies. His prints
have preserved some of the friezes of Polidoro da Caravag<rio, which
were upon the facades of public edifices, and have been destroyed.
His plates number about 180, of which 75 are from his own designs.
The following are some of the best designed by himself :
2
18 ALBERTI ALBINI.
Portrait of Pope Gregory XIII; oval, with ornaments.
Portrait of Pope Urban VII. ; oval, with ornaments.
Portrait of Henry IV., of France ; oval, 1595.
Portrait of Pietro Angelo Bargeo.
Judith, with the head of Holofernes.
The Nativity; inscribed. Di-ns <>iiutij>i>'<>i- .
The Flight into Kgypt, 1574.
Another Holy Family : S. Joseph seated, with a Book.
The 1 Body of Christ supported in the Clouds by an Anirel. in-
M-ribed, Maynum jiictatlx opus, etc.
The Virgin Mary and Infant in the. Clouds; inscribed. Hfyiiiu
ccell.
Mi-.ry Magdalene Penitent, 1582.
S. Catherine receiving the Stigmata. l.~>74.
S. Christian drawn out of the Sea.
S. Francis receiving the Stigmata, 1599.
S. Charles of Borromeo, kneeling before the Virgin and Infant,
1612.
Six of Children, for ceilings ; dedicated to Card. Viseonti, KiuT.
Albert!, Giovanni, born at Bov_o S. Sepolcro (1558-1601).
Brother of Cherubtno, an I instructe.l by their father. He excelled
in landscapes and perspective, and the figures in his pictures were
often done by Cherubiuo. Po]ie (Jregory XIII. employed him in the
Vatican, and Clement VIII. in the Lateran. His portrait is in
S. Luke's Acad.
Alberti, Durante, born at Borgo S. Sepolero 1538. died at Rome
1613. Went to Rome when very young, (ire-ory XIII. was then
Pope. He soon distinguished himself, and his pictures are in scMTal
places in Rome. He was buried with great distinction in the Chi sa
del Popolo. and his portrait is in ihe Acad. of S. Luke. In the
eh. of S. Maria de Monti he painted " The Annunciation." and in
S. Girolamo della Carita. an enthv chapel in fresco, and the altar-
piece in oil, which last represented the Virgin and infant Saviour
with SS. Barfolomeo and Alessandro.
Alberti. There were other artists of this name, whose works
are not well denned. Antonio of Ferrara lived in M'-o. and had a
son of the same name. Pietro Franei>co ( l.~>M-li;;>*) was a son of
Durante. and was a painter and enirraver.
Albertoni, Paolo, died about 1695. This artist was a follower
of Carlo Maratti. and painted in his style. Sonic of bis pictures are in
the churches of S. Carlo. S. Marin. and other churches in Rome.
Albertus, H. C., born in Saxony: died Itiso. Hi< portrait of
John SeckendorfF, rector and professor of Xwickau. is a fine work of
art.
Albini, Alessandro. Zani says be was born in 1")^6 and died in
1C46. Malvasia calls him a Bolognese, and a disciple of the school
ALBINI ALDEGREVER. 19
of the Caracci. He made designs for the funeral ceremonies of
Agostino Caracci, which greatly added to his reputation. At Bo-
logna there is a picture by this master in the ch. of S. Michele in
Bosco, representing the " Sepulture of SS. Valerian and Tiburtius,"
and another in S. Pietro Martire, representing SS. Peter, Cather-
ine, and Cecilia.
Alcamenes, born at Athens, scholar of Phidias, perhaps of
Critias also. Brass-caster, sculptor, toreutes, and cleruchos in Lem-
nos. He flourished from 444 to 400 B. c. His chief productions
were images of the gods. Among these were two statues of Athene,
one of which, after the expulsion of the thirty tyrants by Thrasybu-
lus, was placed in the temple of Hercules at Thebes, together with
a colossal statue of Hercules by the same sculptor (403 B. c.) ; a
three-formed Hecate (the first of its kind), and a Procne in the
Acropolis at Athens ; a statue of Mars in the temple of that god at
Athens ; the Battle of the Centaurs and Lapithae upon the western
pediment of the temple at Olympia ; an JEsculapius at Mantineia ; a
bronze statue of the victor in the Pentathlon ; and a statue of
Hephaestus which represented his lame-ness without making it a
deformity. But the most renowned of all his works was his " Venus,"
called from where it was set up, 'HtV K^TTOH 'A^poSir-rj. The breasts,
hands, and cheeks were particularly admired ; and it was said that
Phidias put the finishing touches to this work. Some suppose that
this was the statue which took the prize from that of Agoracritus.
There is also a story that Alcamenes and Phidias contended in mak-
ing a statue of Athene, and that before they were set up that of the
pupil was most admired for its beautiful finish, but when they were
in place the strong lines of that of the master were so effective that
the Athenians gave him the preference.
/ f Aldegrever, Heinrich, born at Soest in Westphalia,
ff\ (1502-1562). As a painter he is less important than as an
** ' engraver. His style so closely resembles that of Albert
Durer that he has been called Albert of Westphalia. His works show
untiring labor, but his figures are often deformed and even hideous.
In the Berlin Gall., a picture by him of the "Last Judgment" is
very peculiar, especially in the upper part where Christ, the Virgin,
and John the Baptist, are represented ; the trumpet-angels and the
demons among the damned are worthy of notice, and in fact the
whole picture is very striking. In the National GalK, London, there
is a " Crucifixion " by Aldegrever. In the Berlin Mus. there is a por-
trait of an old man, and in the Lichtenstein Gall, at Vienna one of
a youth, which is clever. His prints are numerous. Among the por-
traits, those of Luther, Melanchthon, John of Leyden, and Bernard
Knipperdolling, deserve notice. Of historical and religious subjects
there are no less than one hundred and thirty-nine well-known
plates. In one of Titus Manlius, ordering the execution of his son,
20 ALDEGREVER ALDROVANDIM.
the instrument of death resembles the French guillotine ; this is dated
1533. Thirteen plates of the " Labors of Hercules " are fine and rare.
and the etching of " Orpheus and Eurydice," the only one of this
master, is very rare.
Aldighiero, 01 Altichiero da Zevio, a native of Zevio, near
Verona, was a painter of the early Paduan School. He decorated
the chapel of S. Felice in S. Antonio at Padua with wall paintings.
about 1370. Liibke says he displayed in his works a lively concep-
tion and richly finished coloring. The pictures in this chapel repre-
sent scenes from the legend of S. James Major. That of the land-
ing of the body of the saint on the coast of Spain, is especially fine.
He was associated with D'Avanzo Veronese, who was one of the
worthiest of the followers of Giotto, and their pictures wen 1 equal
to anv of the school of that master. Aldighiero was so much asso-
ciated with other artists that there have arisen never-ending disputes
as to what he did or did not do, but the records show that he
painted the chapel of S. Felice. In the work of Crowe and Caval-
caselle, it is said to be no exaggeration to call this chape! the noblest
monument of the pictorial art of the fourteenth century, and that
none but the greatest Florentines had done better.
" Aldobrandini Marriage." This is one of the most valuable
relics of ancient painting. It was discovered on the Ksquilinc Hill,
near the arch of Gallienus, in the early part of the seventeenth cen-
tury, during the time of Clement VIII. It was taken from the wall,
and became the. possession of Cardinal Aldobrandini, who after hav-
ing it restored by Domenico del Frate. placed it in his villa on the
Quirinal ; hence its name. It is a composition of ten figures, and
rcprc>cnts three scenes arranged like an ordinary bas-relief. In tin-
centre the bride is seated on a bed, while another female speaks to
her; the bridegroom is crowned with ivy, and seated on a stool at
the end of the bed with his face turned to the bride. On one side
the attendants make ready a bath; on the other musicians sing the
" Epithalainium " or wedding song. In 1818 Pius VII. paid 10,000
8cudi, or about 2,000 guineas for this fresco, and placed it in the col-
lection of the Vatican.
Aldrovandini, Mauro, born at Bologna (1G49-1680). An eminent
architect. As a painter he belonged to the School of Cignani, with
whom he painted in the Pala/./o Publico at Forli.
Aldrovandini, Tommaso, l>orn at Bologna (1653-1736). Nephew
of Mauro, by whom he was instructed. He excelled in perspective
and architectural views, and worked much with Carlo Cignani and
Antonio Franceschini, who executed figures. In conjunction with
the latter. Tommaso painted the ' Council Chamber of Genoa," his
greatest work.
Aldrovandini, Pompeo Agostino (1677-1739). Cousin and
pupil of Tommaso. One of the most celebrated Italian painters of
ALDROVANDINI ALFANI. 21
his time. He worked in oil, fresco, and distemper, and was much
employed on the public buildings of Vienna, Dresden, and Prague.
Aleman, Cristobal, introduced the art of glass-painting in Se-
ville and painted a window for the Cath. in 1504.
Alen or Olen, Jan van, born at Amsterdam (1G51-1698). A
painter of landscapes and still-life. A good imitator of Melchior
Iloudekoetor.
Aleni, Tommaso, born at Cremona (1500-1560). Scholar of
Galeazzo Campi. His works were so much like those of his master
as to be distinguished with difficulty, as may be seen in the ch. of
S. Domenico at Cremona.
Alesio, Mateo Perez de, born at Rome. Flourished about 1585 ;
died 1600. He went to Spain, attracted by the generous love of art
of King Philip IT. His chief works were fresco-paintings in the
churches of Seville. Grandeur of design was his chief characteris-
tic. In the Cath. of Seville he painted a S. Christopher, which is
still preserved. The figure of the saint is thirty-three feet high, and
his leg is three feet across the calf. This was done in 1584. He
also painted in the ch. of S. Miguel, and other public edifices. Ale-
sio was almost the first to acknowledge the superiority of Luis de
Vargas, but it is said that he returned to Rome, because the pictures
of Vargas were preferred to his own.
Alexander, Francis, born in Windham County, Conn., in 1800.
At eighteen he was a school-teacher. He commenced his painting
by attempting to reproduce in water-colors the beauties of some fish
he had caught. His success was a surprise, both to himself and his
mother, who encouraged his further use of the brush. In spite of
scanty means he went to New York, and studied with the Scotchman,
Alexander Robertson. He made friends, and received some com-
missions in Providence. From there he went to Boston, and soon
made a good reputation as a portrait painter. In 1831 he went to
Italy, where he resided for many years. In 1833, together with
Harding, Fisher, and others, he exhibited a number of his pictures
in Boston.
Alfani, Domenico di Paris, born at Perugia 1483, living, 1553 ;
time of death not known. Scholar of Perugino. He was an ardent
admirer of Raphael, whose style he imitated ; had little originality.
In middle life he caused his family of natural children to be legiti-
mized and made his son Orazio his partner. He was a registered
master in Perugia in 1510. The earliest known picture of his is a
'' Madonna and Child with SS. Gregory and Nicholas " in the Collegio
Gregoriano at Perugia. It is on wood, in oil, figures life-size, dated
1518. A fine picture, full of the beauties of Raphael. In the
ch. of S. Francisco at IJettona is ? fine fresco of the " Virgin and
Child " with four saints, which reminds one of the " Madonna di
Foligno." At Diruta in the ch. of S. Antonio Abbate, there rre
22 ALFAXI ALFARO.
four pictures representing scones in the life of S. Anthony ; much
injured.' In the Cath. of ('ink della Pieve is an altar-piece V>\
Doraenico : wood, oil, figures life size, dated 1521. In the gallery
at Perugia a " Virgin and Child " with saints and angels : wood, oil.
O
figures life size. In 1527 Rosso was at Perugia with Alfani, and fron:
that time his style seems changed, which may lie seen in the pictures
at S. Giuliana at Perugia. In 1553 the father and son together
painted a ' Crucifixion " for S. Francesco at Perugia, and as tlie\
painted much in conjunction, there are various pictures which cannot
be assigned to either one. One of these is a graceful ' Holy Family ''
in the tribune of the Uffizi. In 1525 he painted frescoes at the
villa of Prepo near Perugia. In 1527 he was commissioned to paint
an altar-piece for Castel Rigone. In 1535 he painted the arms of
Paul III. on the Pal. of Perugia; in 1536 a " S. Louis " in S. Fran-
cesco, and in this same year married the mother of his children.
His will was made in 1549, and as before said, he was living in
1553.
Alfani, Orazio di Paris, born at Perugia 1510, died at Rome
1583. Also a pupil of Perugino and an admiring imitator of Ra-
phael. His reputation more than equalled that of his father. In
the transept of S. Francesco at Perugia is a " Nativity " by this an 1st.
singular for the introduction of " S. Anna " who has a basin of water:
said to have been dated 15:><J. Perugia Gall., No. 59, formerly in
the Carmine, is a work of Orazio's, as are also Nos. 140, 142. 15H.
132, 163, 144, 145, and 146, in the same gallery. There are .-e\erai
of his works in S. Francesco and S. Pietro at Perugia. A: tin-
Louvre "The Marriage of S. Catherine," No. 2(5. dated 1548, i-; by
this master. There are many more of his pictures, in Perugia men-
tioned in the Guides. ()r;:xio was registered in the guil 1 of lYrugia
in 1545; elected architect of ihe town in 1576, but retaine 1 the
office a very short time. He was first president of the Aca.l. of
Perugia, founded in 157:).
Alfaro y Gamon, Don Juan de, born at Cordoba 1<!10, died
at Madrid 1680. He studied fir:-; wuh Antonio tie (.'asiile, and then
with Velasquez. His pictures imiiatc the latter, and also remind one
of Vandyck in color. He is said to have been very vain, and to
have copied some prints, and put on each of them, Alfiiro /-//(..-//.
To punish him, Castillo pain i'-d one. and subscribed it Non jiin.ri't
Alfaro, which passed into a proverb. He was also a poet, and
had good literary attainments, but his memory is staimvl bv in-
gratitude The Admiral of Castille was his patron : >till whin be
was banished Alfaro forsook him. and yet did not hesitate to solicit
his patronage when recalled. The rebuff' he received is said to have
brought on melancholy and caused his death. In the ch. of the
Carmelites is his " Incarnation," and at Madrid, in the ch. of the
Imperial College his celebrat.-l Guardian Angel."
ALFON ALLAN. 23
Alfon, Juan, born at Toledo. In 1418 he painted several reliqua-
ries lor the Cathedral which are still preserved.
Algardi, Alessandro, born at Bologna 1598. He was
an architect, sculptor, and engraver. A pupil of Giulio
Cesare Convent!. His plates which remain are few ; they
are executed with a graver, in the free bold manner of Agostino
Caracci, and are as follows :
A large, upright plate of The Crucifixion.
The Souls delivered from Purgatory ; oval.
The Blind Beggar and his Dog ; after Caracci.
Eighty plates of the Cries of Bologna ; after Caracci.
These were executed in conjunction with Simon Guillain. He is
best known as a sculptor by a large rilievo in marble, over an altar
in S. Peter's at Rome. It represents the appearance of SS. Peter
and Paul to Attila and his hosts. While this work has some merit,
it has great faults, especially those of confusion and want of
breadth.
Aliamet, Jacques, born at Abbeville 1728, died in Paris 1788.
An engraver who excelled in landscapes and sea-pieces.
Aliamet, Francois Germain, younger brother of Jacques. Born
at Abbeville 1 734. After studying engraving in Paris, he went to
London, where he was under Sir Robert Strange. His works were
inferior to his brother's, and consisted of portraits and historical
subjects.
Aliberti, G-io. Carlo, born at Asti (1680-1740). His prin-
cipal works were frescoes in his native city. He painted the cupola
of S. Agostino, and other pictures for the same church. Bryan
says, " His style consists of a mixture of Maratta, of Gio. da S.
Giovanni, and of Correggio ; heads and feet that might be attrib-
uted to Guido or Domenichino ; forms peculiar to the Caracci ; dra-
pery of Paolo, and colors of Guercino."
Alibrandi, Girolamo, born at Messina (1470-1524). Pupil of
Gio. Bellini, and a friend of Giorgione at Venice, where he spent
many years. He then entered the school of Leonardo at Milan,
lie has been called the Raphael of Messina. The chef-rV (Kucre of
Messinian pictures is his " Purification " in the ch. of Candelora.
It has perspective, grace, and pleasing color. Polidoro admired it so
much that he painted a " Deposition from the Cross " in distemper,
to serve as a cover and protection to it.
Aliense. See Vassilacchi.
Allan, David, born at Alloa, Scotland (1744-1796). After
studying in the Academy at Glasgow, he went to Italy, and took the
prize medal at the Acad. of S. Luke, for the best historical com-
position. It is difficult to understand how he could have excelled,
judging from his etchings, or the engravings from his pictures.
Allan, Sir William, born at Edinburgh (1782-1850). Studied
2 ALLAN ALLEGRI.
at the same time as Wilkie in the Trustees' Acad. in his native
city. He went to London, where he met with no success, and in 1805
went to St. Petersburg, where he made a good name, as a portrait
painter. He visited the interior of Russia, Tartary, and Turkey.
He afterwards painted pictures illustrative of the scenes of those
countries, such as the " Circassian Captives," M Prisoners conveved
by Cossacks to Siberia," etc. He returned to England in 1814. In
1830 visited the continent; in 1834 went to Spain; in 1838 became
president of the Royal Academy of Scotland, was the successor of
Sir David Wilkie, as Limner to the Queen in Scotland, and wns
knighted in 1842. In 1843 he exhibited the " Battle of Waterloo,"
now in the Coll. of the Duke of Wellington. In 1844 he went
again to Russia, and after his return, painted the picture now in the
winter palace of the Emperor, representing " Peter the Great teach-
ing the Art of Ship-building to his Subjects." He died in his studio
at Edinburgh, before an unfinished picture of the " Battle of Ban-
nockburn."
Allegri, Antonio da Correggio, or Antonio lueto da Correggio.
Allegri and Lieto are synonymous, and have the same meaning as
the Latin Leatus (joyful). Born at Correggio (1494-1534). His
father, Pellegrino Allegri, was a respectable merchant. A'ery little
is known of the early life of Correggio, but it is thought that he was
a pupil of Tonino Bartoletto of his native city. He probably studied
the works of Leonardo da Vinci, and the painters of Mantua and
Modena, for he fled to Mantua in 1511 on account of the pla_nu at
Correggio. He appears, however, to have been largely the founder
of his own style. He is the greatest master of li^lit and dark, or
chiaro-scuro, whether effected by color or shades. His management
of li'.dit was wonderful ; he gave the most brilliant effect without
dazzling, and his deepest shades were not dull. In all his subjects
there is life and motion. He loved to depict the joyousness of child-
hood, while his representation of earthly love was blissful, and that
of heavenly love fervent. If sorrow was represented, it was deep-
ened by the contrast with his usual joyousness. His passion seems
to have been foreshortening and violent perspective. For his cupola
paintings, this was a necessity, but he used it often apparently for
the mere love of it, as in one instance he painted a " Madonna'' sit-
ting on her throne as if seen from below, and her knees appear almost
to touch her breast. He was the first modern artist who excelled in
chiaro-scuro, and is allowed to be still unequalled. When twenty-live
years old, he was at Parma, and had an established reputation. In
1520 he contracted to paint the dome of S. Giovanni Evangelista.
the payments for which extended through four years. ^ lie had pre-
viously painted in Parma, some mythological designs for the. convent
of S. Paolo. We are amazed that these designs were chosen for
a cloister; but Lanzi says, " Our wonder will cease, when we reflect,
ALLEGRL 25
that the same place was once the residence of a lady abbess, at a
time when the nuns of S. Paolo lived unguarded by grates, in
which every abbess sought to enjoy herself, held jurisdiction over
lands and castles, and independent of the bishop, lived altogether as
a secular personage." At Correggio, before this time, Allegri had
painted altar-pieces. The Madonna at Dresden, called " The Madonna
del S. Francesco," is claimed to have been painted when he was
hut twenty-one, and the " S. George," also at Dresden, is another
early work. At S. Giovanni he painted " The Ascension of Christ,''
who is represented as suspended in air, in the centre, while the Apos-
tles are seated on the clouds below. In the pendentives are the Evan-
gelists and four fathers of the church. This was the first instance of
remarkably foreshortened figures, and was grand in arrangement and
detail. But Correggio brought his style to perfection, in the cupola
of the cathedral, at Parma.
This was done between 1526 and 1530. Here he represented " The
Assumption of the Virgin." In the centre, high up, is Christ, who
sterns to precipitate Himself to meet his mother. The principal
group, of the Virgin borne in triumph by angels, is much lower down,
while between that and Christ are several saints, both male and
female, which are wonderfully foreshortened. All the light pro-
ceeds from the glory around Christ. This occupies but the upper
half of the dome. Below are the Apostles between the oblong win-
dows, which are in this part of the dome ; above the windows are
^enii ; the whole is a vast throng of angels, saints, etc., for in the
four pendentives beneath the cupola, are the- patron saints of Parma,
seated on clouds, and surrounded by angels. A pious rapture seems
to be diffused through all, and the richness and boundlessness of the
i ffect can scarcely be conveyed in language. Of course these
figures are all much foreshortened, and the artist was told, " Ci avctc
fatto un guazzetto di rane " (you have given us a hash of frogs).
Besides these wonderful frescoes, there are many altar-pieces and
easel pictures by Correggio. One of the most beautiful is the S.
Jerome, at Parma, called " II Giorno," the day, in contrast with
La Notte," or " The Adoration of the Shepherds," at Dresden.
" The Marriage of S. Catherine "" is one of the most beautiful and
oftenest repeated of his small pictures, and the best example is in the
Louvre. In Kugler's " Handbook." the editor remarks in a foot-
note (page 423), when speaking of this picture : " This subject
was comparatively late; S. Catherine of Siena died in the fourteenth
century, and was not canonized till 1461. The painters appear to
have improved on the legend." Here is a mistake. The picture
illustrates the legend of S. Catherine of Alexandria, who died in the
fourth century, and has no reference to S. Catherine of Siena. " La
Ziogarella" (the Gypsy), so called from the turban worn by the
Virgin, is a picture of " The Repose during the Flight to Egypt,"
20 ALLEGUI.
and is very beautiful. Other important pictures in the Gill, at Parma
are " The Madonna della Scodella," so culled from the cup in the
hand of the Virgin ; " The Deposition from tin- Cross," and >- Tin-
Martyrdom of SS. Plaeida and Flavia." At Dresden, besides
those already mentioned, there are "The S. Sebastian." which has
sometimes been called the most beautiful of all the figures of Correg-
gio; " The Reading Magdalene," and a portrait, said to be that of
MAGDALENE. BY CORREGGIO.
Prr-dm (Jail.
the physician to this master. The National Gall., London, has the
" Ecce Homo," " Venus and Mercury teaching Cupid his Letters," and
the " Vierge au Panier." In the Coll. of the Duke of Wellington is
" The AUOIIV of Christ upon the Mount of Olives," a remarkable
eabinct picture; it was presented by Ferdinand VII. of Spain to the
first duke. The " Christ in the Garden with the Magdalqne,"
is in the Madrid Gall. There are other works of this master of an
entirely different character. At the Stafford House Gall, is one with
a horse and mule, both laden, with their drivers, in the midst of a
glowing landscape. This is said to have been painted for a siirn to
an inn. In the- Berlin Mus. are " Leda and the Swan." and " lo
embraced by .Jupiter." These show the triumph of earthly love, as
intensely as the religious pictures present that of the heavenly. The
latter picture was once in the Orleans (Jail, and the son of the duke
cut out the head of To because it was too voluptuous in expression !
ALLEGRI. -27
The present head was the work of Prud'hon. There is a copy of
this picture in the Vienna Gall., which is universally believed to
be also by (Jorreggio. At the Borghese Gall, at Home, is the pic-
ture of Danae. At the Paris Museum, " Jupiter and Antiope." It
is said that when Correggio saw the pictures of Raphael, his eyes
brightened, and he exclaimed, " I also am a painter." When
Titian saw the works of Correggio at Parma, he said, " Were I not
Titian, I should desire to be Correggio." Annibale Carracci wrote
from Parma in 1580, " Tibaldi, Niccolini, Raphael himself, arc-
nothing to Correggio." The monks were very fond of Correggio,
and in 1520 he was made a member of the Congregation Cassinensi,
in the monastery of S. John the Evangelist at Parma. Tasso was
also a member of this fraternity. This membership conveyed a
participation in the masses, prayers, and alms of the community,
and was accompanied with a promise to perform the same offices for
the repose of his soul, and those of his family, that they would per-
form for their own number. In 1520 he married Girolama Merlini,
a lady of good family, very gentle and lovely. She was probably
his model for " La Zingarella " after the birth of his first child. She
bore him one son and three daughters, and died in 1529. He did
not marry again, and died suddenly in 1534. The story of the
great poverty of Correggio, set forth by Vasari, seems to have been
unfounded ; it is certainly contradicted by the quantity and quality
of the colors he lavished on his pictures. The prices which he
received such as 1,000 ducats, or 150/. sterling for the Cath. ui
Parma, 11- 10s. for " La Notte," etc., seem to us very small, but we
must consider the value of money in those days, and these sums arc
not inconsiderable. It is not known whether Correggio ever visited
Rome or not, and various arguments are brought to bear on both
sides of the question; but Ortensio Landi, in a work published in
1552, says, "he died young, without being able to see Rome."
ENGRAVINGS AFTER CORREGGIO.
Engraver, AXDERLOXI, Pietro. Magdalene.
Engraver, AUDOUIN, Pierre. Jupiter and Antiope.
Engraver, BAZIN, Nicholas. The Virgin Mary suckling th:'
Infant.
Engraver, BEAUVAIS, Nicholas Dauphin de. The Virgin with
the Infant Jesus upon a pedestal, and several saints below.
Engraver, BERGKR, Daniel. The A r irgin and Child.
Engraver, BERNARD, Samuel. Mezzotinto, The Repose ; called
La ZingareUa.
Engraver, BERTELLI, Cristofano. The Virgin and Infant, with
SS. Sebastian, Francis, and Roch.
Engraver, BONAVKRA, Domenico Maria. The Cupola at Parma :
the Assumption. Dmninico Bo\avera, s-. 1(597.
28
ALLEGRI.
Engraver, BRIZXIO or BKICCIO, Francesco. The Il.ily Family.
Engraver, CAPITKM.I, Bernardo. Tli.- Marriage of S. Catherine.
Kiii/raver, CARACCI, Agostino. The Virgin and Infant with Mag-
dalene; S. Jerome and an Angel ; 1586.
Engraver, CHATEAU or CHASTKAU, William. The Repose in
Egypt.
Engraver, CORT, Cornelius. The Marriage of S. Catherine; S.
Jerome.
Engraver, CUNEGO, Domenico. The Virgin and Infant.
Engraver, DUCHASGE, Gaspar. Jupiter and lo; Jupiter and
Danae; Jupiter and Lola.
Engraver, EARLOM, Richard. The Repose, called la Zingara.
Engraver, EDELIXCK, Nicholas. The Virgin and Infant.
Engraver, FKSSARD, Stephen. S. John Baptist, with other saints.
Engraver, FREZZA, Gio. Girolamo. Tlie Repose, called la Zin-
.7 "'"
Engraver, JODK, Arnold de. Mercury educating Cupid.
Engraver, LORENZINI, Fra Antonio. S. John surrounded with
angels.
Engraver, MEXAGEOT, Robert. Friendship ; a circular print.
Engraver, MERCATI, Gio. Batista. The Marriage of S. Cath-
erine.
Engraver, MITELLI, Giuseppe Maria. The Adoration of the Shep-
herds, called La Notte.
Engraver, MOGALLI, Como. The Holy Family.
Engraver, PICART, l^tienne. The Marriage of S. Catherine.
Virtue triumphant over Vice ; The Sensualist.
Engraver, PoRPORATr. Jupiter and Leda ; The Madonna with
the Rabbit ; Leda and the Swan, and Leda bathing ; La Zingarella.
Engraver, Rossi, Girolamo. The Virgin and Infant Jesus.
Engraver, SANUTO or SAXUTUS, Giulio. Apollo and Marsyas.
Engraver, SMITH, John. Venus standing in a Shell.
Engraver, SORNIQUE, Dominique. Diana and her Nymphs.
Engraver, SPIKRRE, Francis. The Virgin suckling the infant
Christ.
Engraver, STEEN, Francis Vander. Cupid shaping his Bow ; Ju-
piter and lo ; Ganymede.
Engraver, STRANGE, Sir Robert. Tlie Magdalene.
Engraver, SURRUGUE, Peter Louis. Tlie Adoration, called " La
Notte." '
Engraver, TROYEX. John Van. Magdalene Penitent.
Engraver, VOLPATO, Gio. Christ praying on the Mount.
Engraver, WATSON, Thomas. The Virgin with the infant Jesus
and S. John.
Allegri, Pomponio Quirino, son of Antonio, born at Correggio
1521. lie was but thirteen when his father died, therefore he could
ALLKGRI ALL011I.
derive but small benefit from him, except in the study of his works.
He had fair abilities, and was established at Parma, where he was
constantly employed until 1593. In the Cath. of Parma there is
a fresco by him representing Moses just after he received the Tables
of the Law, and is showing them to the Israelites.
Allegrini, Francesco, born at Florence 1729. A designer and
engraver. Jn 1 762 he published one hundred portraits of the Medici
family with a frontispiece, all engraved by himself. He made a
print of S. Francesco d'Assisi, which is much esteemed in Florence.
He also engraved other eminent poets, painters, and men of Florence.
Allegrini, Francesco, called da Gubbio (1587-1663). A disciple
of Giuseppe Cesari, called II Cavaliere d'Arpino. He painted in
oil and fresco, but mostly in the latter. At Gubbio he painted
the cupola of the Sacrament in the Cath., and another at the
Madonna de' Bianchi. He lived at Rome and worked in the Casa
Panfili. Small pictures by this master are often seen in Rome and
Gubbio, which merit praise. He also painted figures in the land-
scapes of Claude ; two of these were in the Colonna Pal. He
painted in the Cath. and Casa Gavotti at Savona, and in the Casa
Durazzo at Genoa. His two sons, Flarninio and Angelo were histori-
cal painters.
Allet, Jean Charles, born at Paris 1668; died at Rome 1732.
Designer and engraver. He marked his plates sometimes Charles,
and sometimes Jean Charles, which led to the opinion that there
were two engravers of the name of Allet, but they are now believed
to have been one person. His engravings are portraits and subjects
from sacred history.
Alloisi. See Galanino.
Allori, Alessandro, born at Florence (1535-1607). A nephew
of Bronzino, he was called by his name, which he sometimes affixed
to his pictures. Vasari speaks of him as living most lovingly, even
as a son, with his uncle. Before he was seventeen he had painted
from his own design, an altar-piece representing the Crucifixion. At
nineteen he went to Rome and remained two years. There he
studied principally the works of Michael Angelo. Returning to
Florence he was constantly occupied on public edifices, but painted
some portraits. He wrote a book upon anatomy for the use of pain-
ters, and was so much devoted to this, that he neglected some other
branches of art. He was a great mannerist, and his portraits were
his best pictures, though some of the horses which he painted in
Rome were fine ; but on the whole he was little if any above medi-
ocrity.
Allori, Cristoforo, born at Florence (1577-1621). Son of Ales-
sandro, and called also Bronzino. He was a pupil of his father,
whom he afterwards called "a heretic in painting," and followed
Cigoli and Pagani, whose works he admired. By some his execution
30 ALLORI ALLSTON.
was considered better than that of any other artist of his time ; in-
deed, he was so fastidious that he finished few pictures. He excelled
in portraits, and in landscape painting surpassed the Florentines of
his day. His best work is the " S. Julian," in the Pitti (.all., but
his " Judith " is more generally known. It is said that the bead of
" Ilolofernes " is his own portrait, " Judith " that of his mistress, and
" Abra," that of her mother. He made copies of the " Magdalen ''
of Correggio which passed for duplicates by the great master.
Allstoii, Washington, lioru at Waceamaw, South Carolina. 1779;
died at Cambridge. Mass., isi:;. He graduated from Harvard Col-
lege in 1800, and went to London and studied in the Royal Acad.
After three years of assiduous labor he went to Paris, and pmreedcd
to Italy, when- he remained four years, mostly in Rome. There he
a>sociated intimately with Coleridge and Tborwaldscu. In ISOIt he
came to America and married Miss Chaimiii'i, and subsequently fixed
his residence in London. lie there exhibited " The Dead Man re-
vived," which took the prize of two hundred guineas at the British
Institution. He next painted ." S. Peter liberated by an Angel."
now in the eh. of Ashby-de-la-Xouch ; " I riel iu the Sun," also a
prize, picture/ now belonging to the Duke of Sutherland; "Jacob's
Dream, 7 ' now at Pet worth ; and between these larger works, several
smaller ones. He returned to America in 1*1*, and settled in Boston.
He was elected to the Royal Acad. in Kngland, where his works
were much esteemed. The only one be brought to America. Elijah
in the Wilderness," was sold to the lion. Mr. Laboucherc, and taken
to England. His next pictures were The Prophet. Jeremiah." now
at Yale College; ''Saul and the Witch of Endor," which belonged
to the late Colonel T. II. Perkins, of ISostou : Miriam >ingiug the
Song of Triumph," also owned in Boston, by the late lion. David
Sears; and the small pictures of "Dante's Beatrice " and ''The
Valentine." In 1830 he married Miss Dana, and removed to Cam-
l>nd'_ r e. where he passed the remainder of his life in seclusion. He
theiv painted " Spalatro "' or the " Vision of the Bloody Hand." and
l!<>-alie" which belonged to the Hon. Nathan Appleton. " The
Spalatro " is in the Coll. of John Taylor Johnston, New York.
Mr. William Pane. Proident of the National Acad. of Design, New
York, said in a recent lecture, that when he praised this work to
Allston. he replied. ' I think, perhaps, it is on the whole the best
picture I ever painted." Mr. Pa'jv said. " In color it is not as good
as the best of Titian's, yet few pictures of Titian's, of that .-i/e, are
so good in color. In composition and cliiaro-scuro it is one of the
great pictures. It is the best picture in a gallery which contains the
best pictures to be seen in America." Allstoii also painted some por-
traits. Among them were that of Benjamin West, in the. Boston
Athenasum, and one of Coleridge, in the National Portrait Gall, of
England. Of the last, Wordsworth said, " It is the only likeness
H
3 P
5.
ALLSTON. 3:3
which ever gave me pleasure." In 1836, he was invited by Congress
to paint a large picture for the Capitol, but his mind was fixed upon
painting " Belshazzar's Feast," for which he had made a sketch in
1817. This was unfinished when he died, and is in the Boston Athe-
naeum. Allston was remarkable for the versatility of his concep-
tions. The beauty of Beatrice and Rosalie, the prophetic sternness
of Jeremiah, the grace of Miriam, the moonlight effects, the forests
and mountains of his landscapes, the horror of Spalatro, and the im-
pressive mysteriousness of the reviving Dead Man, display a won-
derful scope of thought and a surprising power of execution. His
literary talents were good. In 1813 he published a poem, "The
Sylphs of the Season," and later, "The Two Painters" and
"The Paint King." In 1821, " Monaldi " was written, but not
published until much later. This story gives his own life in Home,
mingled with a story of passion, the whole gracefully adorned with
observations upon art, and descriptions of nature. A course of lec-
tures which he wrote upon Art, but did not deliver, were published
after his death. Tuckerman has well said, " Indeed, the writings
and paintings of Allston exquisitely illustrate each other. By their
mutual contemplation we perceive the individuality of the artist and
the pure spirit of the man ; and realize that unity whereby genius
harmonizes all expression to a common and universal principle, mak-
ing form and color, words and rhyme, express vividly and truly
what exists in the artist's nature. ' Rosalie,' for instance, the poem,
is the reflection of ' Rosalie,' the picture; and his letter describing
a view among the Alps, breathes the identical feeling that pervades
the landscape depicting the scene." Allston often related the follow-
ing incident in his life. Not long after he went to Europe after his
first marriage, his pecuniary wants became very pressing. One day
while in his studio the thought came to him, that he merited his trials
as a punishment for his want of gratitude in the past, when he had
been more prosperous. Suddenly he felt a strong hope that God
would answer his prayer ; he locked his door, threw himself on his
knees, and prayed for a loaf of bread for his wife and himself. There
was a knock at the door ; he opened it with a feeling of shame, and
a fear that he had been observed. A stranger asked for Mr. Allston,
and inquired if his picture of "Uriel" had been sold. When an-
swered in the negative he asked where it could be found. " Here, in
this very room," replied Allston, and he brushed the dust from the
picture and brought it forward. When the price was demanded, All-
ston said he had done fixing a sum, for his price had, so far,
exceeded his offers. "Will -100 bo an adequate recompense?"
asked the stranger. " It is more than I have ever asked," said All-
ston. " Then it is mine," replied the Marquis of Stafford, for he it
was. From this hour they were the warmest friends. By him All-
ston was introduced into society, and soon became a favored guest in
a circle which embraced manv <nfted minds.
34 ALMELOVEN ALTDORFKK.
Almeloven, John, born about 1614 or 1G24. Dutch engraver and
painter. Best known by some etchings of landscapes.
Alsloot, Daniel, born at Brussels (1550-1608). Landscape
painter.
Alsloot, Denis van, flourished in early part of the seventeenth
century. Painter of landscapes and portraits.
Altamonte, or Altamonti, Martin, born at Naples, porno say in
1657, and others, in 1682; died, 1745. He. was among tin- l>est
painters of his time. His subjects were historical and architectural.
Altdorfer, Albrecht, born at Altdorf in Bavaria, 1488, died at
Ratisbon, or Regensburg, 1538. He is said to have been a pupil
of Albert Durer's, but this lacks confirmation. He was a painter.
and an engraver on cop'per and wood. Kugler says, He seized
the fantastic tendency of the time with a poetic feeling at once
rich and pleasing, and he developed it so as to attain a perfection
in this sort of romantic painting, such as no other artist has ever
realized." He is one of the best of the "little painters " of Ger-
many. The latter portion of his life was given to painting, as his
last prints were dated 1525. Some of his works display wonderful
patience when we compare their sixe and the number of figures. That
of the " Victory of Alexander at Arbela." is purely Gothic in dc>ign.
and the costumes such as were worn in 1529 when it was painted. It
has been said to contain more figures than any other picture. Srhlegd
sivs, It is, in truth, a little world on a few square feet of canvas ; tin-
hosts of combatants, who advance on all sides against each other, are
innumerable, and the view into the background appears interminable.
In the distance is the ocean, with high rocks, and a rugged island
between them ; ships of war appear in the offing, and a whole fleet
of vessels ; on the left, the moon is setting , on the ri'jjht, the sun
rising ; both shining through the opening clouds, a clear and strik-
ing imago of the events represented The armies arc arranged in
rank and column, without the strange attitudes, contrasts, and dis-
tortions generally exhibited in so-called battle-pieces. How indeed
would this have been ]x>ssihlc with such a vast multitude of figures ?
The whole is in the plain and severe, or it may be, the stiff manner
nf the old style. At the same time, the character and execution
of these little figures is most masterly and profound. And what
variety, what expression there is, not merely in the character of
the single warriors and knights, but in the hosts themselves! Here
crowds of black archers rush down, troop after troop, from the
mountain, with the rage of a foaming torrent ; on the other side,
high upon the rocks in the far distance, a scattered crowd of flying
men are turning round in a defile. The point of the greatest, in-
terest stands out brilliantly from the centre of the whole ; Alexan-
der and Darius, both in armor of burnished gold : Alexander, on
Bucephalus, with his lance in rest, advances far before his men, and
ALTDORFER. 35
presses on the flying Darius, whose charioteer has already fallen on
his white horses, and who looks back upon his conqueror with all
the despair of a vanquished monarch." This picture was in the
Gall, of Schleissheim, and was taken to Paris. Napoleon liked
it so much, that he had it at S. Cloud, in his bath-room. It was
returned to Bavaria in 1815, and is now in the Pinacothek, Munich,
Cabinets, 169. In the same place, Cabinets, 138, is the " History of
Susanna" by Altdorfer. In the Augsburg Gall, there is an altar-
piece with wings ; very fine. At Nuremburg, there is in the Lan-
dauer Bruderhaus, No. 179, a Crucifixion, and in the chapel of S.
Maurice a picture by this master, of S. Quirinus being drawn from
the water. In the Coll. of the Historical Society at Ratisbon,
there is an " Adoration of the Shepherds." The Rev. J. Fuller Rus-
sell has a picture of " Christ parting from the Virgin," which is un-
doubtedly by Altdorfer, although it is sometimes attributed to Durer.
I find mention of no other picture by Altdorfer, in England. His en-
gravings were not inferior to his paintings, and he executed, on
copper and wood, more than one hundred and seventy prints. The
following is a list of a small portion of them.
Engraved on Copper.
Portrait of himself with his cipher.
Portrait of Luther, with an oval of foliage.
S. Jerome with the Lion. One of the best.
Judith with the head of Holofernes.
Adam and Eve in Paradise.
Solomon's Idolatry.
Samson and Delilah.
Pyramus and Thisbe.
A naked Woman with wings, seated on a star, with a torch in one
hand and an escutcheon in the other, called Lascivia.
S. George and the Dragon.
Mucius Scaevola.
Amphion saved from the Sea by a Dolphin. 1825.
The Death of Lucretia. Etching.
The Virgin and Child, dressed in the costume of Ratisbon, with
a palm-tree.
A Man and Woman dancing.
Engraved on Wood.
Forty cuts of the Fall and Redemption of Man. Very fine.
Paris dying on Mt. Ida with the three Goddesses. 1511.
The beautiful Virgin of Ratisbon after the picture in the Cath.
One of his best works.
S. Christopher, stooping to take up Jesus. 1513.
The Purification.
36 ALTDORFER ALUNNO.
The Murder of the Innocents. 1511.
The Resurrection of Christ. 1512.
The Annunciation. 1513.
S. Jerome before a Crucifix in a Grotto.
Abraham's Sacrifice.
Altharn , flourished about 1660. A German painter of
marine subjects and landscapes.
Altissimo, Cristofano dell', flourished about 15G8. Pupil of
Bronzino. A good portrait painter. The Duke Cosmo dei Medici
I., employed him to copy the portraits of illustrious persons in the
Gall, of Count Giovio. Vasari says he finished more than 280 of these,
which were hung around the Guardaroba of the Duke. Many
more were finished later, and they were placed in the corridor of
the Uffizi. His family name was Papi.
Alunno, Niccolo, born at Foligno about the middle of the
fifteenth century. He painted in distemper, but his colors still
endure. His principal works are, the " Annunciation" in S. Maria
Nuova at Perugia, 1466 ; a " Crucifixion " in the Art Hall at Carls-
ruhe, 14G8 ; an enthroned "Madonna" in the Brera at Milan,
1465 ; portions of pictures originally at Assisi, which represented a
" Pieta," much praised by Vasari ; portions of an altar- piece in the
ch. of S. Niccolo, at Foligno, 1492 ; a "Madonna " in the Berlin
Mus., etc., etc. Numbers of his works are dispersed in the March
of Ancona. Many of them were in several pieces, although that
manner of painting had almost passed away in his time. Alunno
may be called the founder of a new style in the Umbrian school.
Hitherto the Art of those quiet valleys had expressed the character
of their inhabitants, and breathed forth the deep religious enthusi-
asm of a people living in retirement, unfamiliar with classic studies,
and filled with fervent spiritual longings ; in short, a people who
regarded Assisi with its Basilica as a holy place, and the lovely S.
Francis as the most perfect earthly model that could be represented
in Art, or imitated in life. But the tendency to represent mere
beauty, the realistic mode, began now to be felt, even in Umbria,
and it was first remarkable in the works of this painter. The blend-
ing of the two styles resulted in that wonderful beauty which we
find in the works of Raphael, where the richness of Italian painting
is made perfect by the expression of tender feeling, purity of soul,
and spiritual and devotional sentiment. It is the union of beauty
in form and expression that imparts the charm to the works of a
class of painters, who, without great power or scope of thought,
agreeably portray pure spiritual feeling with grave and quiet dignity.
To this class Niccolo Alunno belonged, and his mission seems to
have been to prepare the way for others who possessed more genius
than himself. In addition to the works already mentioned there
sure at Gualdo, Duomo, several saints, a Crucifixion, etc. ; a S. Paul
ALUNNO AMAYA. 37
here is one of his best figures. At Nocera, Sacristy of Duomo, a
" Nativity " and a " Coronation of the Virgin," with saints, doctors of
the church, and half lengths of the Apostles. At Aqnila, convent of S.
Chiara, a " Crucifixion '' surrounded by four scenes from the life of
Christ. At La Bastia, in the ch. of the place, an altar-piece
dated 1499. In the Bologna Gall, a standard. On one face is an
" Annunciation," on the other an enthroned ' Madonna." At the
Louvre, Musee Napoleon 111. Ex. Campana Gall. No. 111., a standard;
No. 88 the " Annunciation." London, National Gall. No. 247, bust of
Christ. No trace of this master has been found later than 1499.
Axnalteo, Pomponio, born at S. Vito 1505 ; died 1588. Son-
in-law of Pordenone, and his successor in his school at Friuli. He
painted historical subjects for Ihe public edifices near Friuli. At
Belluno in the Hall of the Notaries he painted scenes from Roman
History. His chefs-deceit ire were the three Judgments of Solomon,
Daniel, and Trajan, painted in a gall, where causes were decided at
Ceneda, and a " S. Francis receiving the Stigmata," in the ch. of that
saint at Udine. The moment chosen was that of the sun's rising
O'
and from its centre bright rays fell on the hands and feet of the
saint. He not only colored in the splendid manner of the Vene-
tians, but also designed with accuracy.
Amalteo, Girolamo, brother and pupil of Pomponio. He died
young. Graziano, in the poem of Orlando, calls him, " Girolamo
Amalteo de' vita san!o."
Amato, Gio. Antonio d', called also II Vecehio, born at Na-
ples 1475, where he lived until his death 1555. Said to have
been a pupil of Silvestro Buono. He afterwards studied the style
of Perugino, and seems to have largely educated himself. He
painted in oil and fresco. He had many pupils. His favorite
study was theology, and he gave expositions of the Scriptures, for
which he was quite celebrated. His paintings may be seen in the
churches of Naples. In S. Dominico Maggiore, there is a " Holy
Family " in the chapel of the Caraffa.
Amato, Gio. Antonia d', born at Naples (1535-1597). A
nephew of the preceding. In the ch. of the Banco de Poveri at
Naples, is his best work the altar-piece, a representation of the
infant Christ.
Amato, Francesco, an engraver and painter. His pictures are
little known, but his etchings are spirited and- in the style of Bis-
caino.
Amatrice, Cola dell'. Flourished in 1533. Lived at Ascoli del
Piceno. Distinguished there as an architect and painter. He
painted a picture of the " Saviour dispensing the Eucharist to his
Disciples," which is highly extolled in the Guida di Ascoli.
A may a . Flourished 1G82. Pupil of Vincenzio Carduoho,
and painted in Segovia, with correctness of design, and good color-
38 AMBERES AMERIGHI.
Amberes, Francisco de, flourished in the early part of the six-
teenth century. A painter and sculptor. In 1502 he ornamented
the Cath. of Toledo ; in 1508-10 together with Jean de Bourgogne
and Villoldo he painted the arabesque chapel, which is still an inter-
esting object.
Amberes, Miguel di, flourished about 1640. His pictures are seen
in the religious houses of Spain. He was originally of Antwerp, and
somewhat resembled Vandyck in his style of portrait painting.
Amberger, Christopher, born at Nuremberg 1490(?); died at Augs-
burg, 1563 (?). Pupil of the elder Holbein, he imitated the younger.
He painted in distemper and oil, and is said to have ornamented the
exteriors of houses in Augsburg in the former method. His pictures
are chiefly small portraits. They are not equal to those of Holbein
in execution, but have been mistaken for his. In 1532, when Charles
V. visited Augsburg, Amberger painted his portrait, with which he
was so much pleased that he paid him thirty-six rix dollars, the price
being but twelve, and presented him with a medal on a gold chain.
Charles is said to have declared the picture as good as one for which
he had paid Titian one hundred rix dollars. It is probably now in
the Berlin Gall. Amberger's best works are in the Franciscan eh.
and convent of S. Martin at Amberg. There is also a fine portrait
of Sebastian Munster at Berlin, and one of Henry VIII. at Augs-
bur"\ attributed to Amberger.
O * ~
Ambrogi, Domenico degli, middle of 17th century. Native of
Bologna. Called Menichino del Brizio from havin"- studied with
O O
Francesco Brizio. He painted in oil and distemper. lie excelled in
perspective, landscapes, and architectural views, and painted also
historical subjects. He was employed in many churches and palaces of
Bologna. In S. Giacomo Maggiore there is a vl (Juardian Angel," and
in the Nunziata a " S. Francis " by this artist. He was the instruc-
tor of Fumiani and Pierantonio Ccrva. In 1 (!;>;! he published some
wood-cuts from his own designs, printed in chiaro-scuro.
Amelsfoort, Quirinus Van, born at Bois-le-duc (1760-1820). A
painter of allegories, history, and portraits, which last were remark-
able as likenesses.
Amerighi, Michelangelo da Caravaggio (1569-1609), called
Caravaggio from the place of his birth. He was the chief master of
the school called Naturalistic, from its direct representation of com-
mon life. Kugler says its style maybe called " the poetry of the re-
pulsive." When confined to scenes of common occurrence, and a
somewhat low life, these pictures are often powerful and have their
own peculiar charm ; lint when this style is used to depict sacred sub-
jects, although, in a sense, powerful, it becomes painful and offensive.
Caravaggio was wild in his nature and life. He lived much in Rome,
but went also to Naples, Malta, and Sicily. The contrasts of vivid
and subdued lights ; his remarkably effective draperies, and his car-
AMKRIGHI - AMES.
39
nation tints, give great effect to his pictures. Some of his sacred
pictures were taken away from the altars where they were placed, on
account of their coarseness. One of his best works is the " Behead-
ing of S. John," in the Cath. of Malta. In Rome, there is at the
Vatican, the "Entombing of Christ; " this is his most celebrated
picture. It is impressive in its solemnity, but devoid of sacredness or
sublimity. In S. Luigi de' Francesci there is a chapel painted by
Caravagdo ; in the Borghese Gall, an immense "Holy Family;"
in the Sciarra Pal., the " Cheating Gamester; " in the Spada Pal.,
" Geometry," as a ragged girl, playing with compasses; and in the
Gall, of the Capitol, a " Fortune-teller," which is a chef-d'oeuvre.
THE FALSE TLAYEKS. BY CARAVAOGIO.
These last are such subjects as he best represents. In the Berlin
Mus. is " Earthly Love " and a portrait. At tin; Louvre is the por-
trait of " Vignacourt," Grand Master of Malta.
Ames, Joseph, born in Roxbury, New Hampshire (1816-1872).
This painter studied in America and Italy and finally settled in New
York. His best fancy subjects are the " Old Stone Pitcher " and
"Maud Muller. " But his success was in portraits, of which he
sometimes executed seventy-five in a year. Of course they could not
be very carefully finished, but they were true to nature and his colors
were fresh and bright. His picture of " Pope Pius IX." was much
admired at Rome ; his portraits of Webster, Choate, Felton, Rachel,
40 AMES AMMAN.
and Gazzaniga are well known. His " Death of Webster " lias
been engraved.
Amici, Francesco. A modern Italian engraver.
Amiconi or Amigoni, Jacopo, born at Venice in 1C 75; died at
Madrid, 1 752. After painting in Venice he went to Home and
thence to Munich, where he acquired considerable fame. Going
thence to England in 1729 his pictures were much in vogue, and lie
was employed by many noblemen in the decoration of staircases and
similar works in the style of llicci. He returned to Venice with
5,000. He was afterwards called to Spain and made painter to the
king, Ferdinand VI. Two largo pictures by him are in the vestibule
of the Queen of Spain's Gall., " The Finding of the Cup in Benja-
min's sack " and " Joseph in the Palace of Pharaoh."
Amiconi or Amigoni, Ottavio, born at Brescia (1 605-1 GC!).
Pupil of Antonio Gandini. lie excelled in frescoes executed after
the manner of Paul Veronese. The scenes from the life of S. Al-
bert, in the Carmelite ch. of Brescia, were partly his work.
Amidano, Pomponeo, born at Parma. Flourished about 1595.
He has been called a pupil of Parmigianino ; of this there is no proof,
but he was a close imitator of that master. The altar-piece in the
ch. of Madonna del Quartierc is his best work, and has been attrib-
uted, even by good artists, to Parmigianino. Orlandi says that many
of his pictures were sold to foreigners, but they have probably been
assigned to Parmigianino, as the name of Amidano is not found in
catalogues.
Amigazzi, Gio. Batista, a scholar of Claudio Ridolfi. lie excelled
as a copyist. In S. Carlo at Verona is a copy of a " Supper," by
Paul Veronese, finely drawn and of good color even now.
Amling, Carl Oustavus, born at Nuremberg (1G51-1710). A
designer and engraver. The Elector of Bavaria sent him to Paris for
instruction, and he studied with F. de Poilly. lie was a respectable,
but not eminent artist. He made many plates, and was more success-
ful in portraits than in other subjects. He engraved some for the
Acad. of Sandrart and also made prints after tapestry, the plates of
which belonged to the Elector of Bavaria.
Amman, Justus, born at Zurich ( l.">;i!)-1591). Went to Nurem-
berf in 1560, where he lived until he died. One of the " little art-
o '
ists," who excelled in wood-cuts. It is said that he made more
than a thousand, comprising almost every imaginable subject. His
" Huvoir\ta " is a remarkable work ; it contains a description of the
artist's time, and has one hundred and fifteen wood-cuts of mechan-
ics and tradesmen in their proper costumes. Amman himself is pre-
x-nted as the engraver. The cuts from this book were used in that
of Hans Sachs, " Kigentlichf Pu-schreibimg aller Stande auf Erden."
He also made illustrations of Livy's Rom in History. Nearly all
his cuts were for books. Amman was also an author and wrote a
book on "Poetry, Painting, and Sculpture."
AMMAN AMSTEL. 41
Amman, John. An engraver who lived at Hanau in 1640.
Ammanati, Bartolomeo, born at Florence {1511-1589 V). Stud-
ied under Bandinelli at Florence, and afterwards at Venice with San-
sovino, sculptor *an' I architect. He was much employed in Padua, Ur-
bino, Naples, Venice, Rome, and Florence. The principal buildings
upon which he was employed as an architect were the Pal. of Bena-
vides at Padua, the Pitti Pal. at Florence, the Pal. Rucellai and
the facade of the Collegio Romano at Rome. He also rebuilt the
Ponte S. Trinita at Florence in 1569. This is his best work, a
great ornament to the city, and one of the most graceful and beauti-
ful bridges in the world. His most important work in sculpture was
the fountain for the Piazza della Signoria. It consists of a colossal
Neptune, in a car, surrounded by other figures, and is open to much
criticism. He also erected a monument for Pope Julius III. which
may still be seen at the eh. of San Pietro in Montorio. He married
Laura Battiferri of Urbino, who was a poetess, and a member of the
Society of the Intronati at Siena. She was a lady of wealth, and
they lived at the Villa Caserotta, near Florence. His wife died three
years sooner than himself. Ammanati was buried in the ch. of S.
Giovanni, upon which he had lavished both time and money. His
biographer says, " his friends wept at his death for the loss of a dear
friend, the poor for a constant helper, the priests for a zealous pro-
moter of the divine worship, the ariists for a great master, and all the
city of Florence for a distinguished architect." Before his death he
wrote a letter to the Florentine Acad. of Design, regretting that he
had sculptured undraped figures, and that their evil influence must
survive him ; warns other artists against the same sin, especially that
of placing inappropriate figures in churches.
Ammanati also wrote a large work called " La Citta. " It con-
tained designs for all the e.liuces necessary to a city. When Mich-
ael Angelo died he was one of the four chosen to superintend the
obsequies of the great master.
Ammon, Clement. Son-in-law of Theodore de Bry, the en-
graver. Ammon added two volumes to the Coll. of portraits pub-
lished by De Bry in six quarto vols. entitled " Bibliotheca Calco-
graphica." Those of Ammon were published in 1650-1G52. He
was much superior to De Bry.
Ammon, Johann, born at Schaffhausen. An engraver of por-
traits. Flourished in 1 700.
Amorosi, Antonio, born at Communanza. Flourished about
1736. He painted some pictures for churches, one of which may be
seen in S. Rocco at Rome, but he excelled in caricatures (bambocci-
ate), and subjects from common life.
Amstel, Cornelius Ploos Van, born at Amsterdam, 1732. An
amateur engraver who executed an interesting set of plates in imita-
tion of the best masters.
42 ANC11ILUS AXD1SKA.
Anchilus, N., born at Antwerp, 1688; died .it Lyons, 1733. A
painter of conversations in the manner of Teniers. lie went to
London and copied the pictures of Snyders for Sir K. Walpole.
Ancona, Andrea Lilio d', called also Andrea Anconitano, died
1610. This painter was employed by Sixtus V. in the ornamenta-
tion of the library of the Vatican, and in the Pal. of S. John of
Lateran. In the Scala Santa he painted, in fresco, " MOM-S striking
tin- Kock ;" in S. Maria Maggiore, " Oar Saviour washing the feet
of the Disciples;" and in the Chiesa Xuova, "The Archangel
Michael driving the Evil Spirits from Heaven." Ancoiia p<j-
some works of Lilio's, both in oil and fresco.
Anderlini, Domenico, born at Pesaro, flourished about 1720.
A landscape painter of some merit.
Anderloui, Fauatino, born at Brescia. Flourished about 1786-
1794. An engraver. He illustrated several scientific works and
made portraits of Schiller, Herder, and Carlo Porta. He also en-
graved " The Dying Magdalene," after Correggio ; " The llepose i.i
Egypt," after N. Poussin ; and the "Mater Amabilis," after
Ferrato.
Anderloni, Pietro, brother of Faustino, born 1784. He studied
with P. Palaxzi and Faustino, ami was undecided between painting
and engraving, but after deciding upon the latter, at the i
twenty he entered the school of Loivjflu. 'vheiv he remained nine
years. Under that master he became excellent in his an, and was
allowed to put his name upon some plates in ackn nvied^iuent, of his
share in their execution. He went twice to iloi.ie to make drawin 's
O
after Raphael, and in 18:51 he succeeded Longlli as superintendent of
the Acad. of Engravers at Milan. He became a member of several
academies and distinguished in bis art.
Anderson, . An Kn.rli>li painter of small marine pictures.
Auderton, Henry, flourished about 1CCO, died 1G(J5. After
studying under Streater he went to Italy. lie painted some histori-
cd pictures, but principally portraits; one of the latter which he
made of Mrs. Stuart (later Duchess of Richmond), so pleased Charles
II. that he gave Andcrton his patrona^-'-
Andre, Jean, born in Paris (\M\-2-l 7 :>:>). He was a Dominican
and went to Rome, where he studied the works of Michael Air_cel<>
and Raphael, and was a pupil of Carlo Marat li. lie painted histori-
cal subjects and portraits.
Andrea, Alessandro. An artist who flourished alxiut 1.">7S, when
he engraved a portrait of the Abl.e de S. Arnaud, the French ::ml>i~
sador at the court of Constantinople.
Andrea da Firenze. This artist was employed in painting the
story of the Bcato Rimicri, at the Campo Santo at Pisa, as is shown
by his receipt for payment made tlu 13th of October, 1377/1378
(Pisan style). It is not possible exactly to trace this artist, as at that
ANDREA ANGELI. 43
time there were seven Andreas on the roll of Florentine artists,
either one of whom may have been the one employed at Pisa. There
has also been a question as to whether he did not paint the Cap-
pellone dci SpagnOoli, which Vasari ascribed to Simone.
Andrea da Firenze, who painted an altar-piece in a chapel of S.
Margaret at Cortona, and a picture of the " Conversion of Constan-
tine," flourished in 1437.
Andrea del Sarto. See Sarto.
Andreani, Andrea, born at Mantua,
1540 or 1560; died, 1623. His paintings
are- little known, but he was a very cel-
ebrated engraver. Early in life he established himself in Rome, and
ddvoted himself to wood-cuts, which were printed in chiaro-scuro.
He excelled all who had preceded him. It is said that he procured
the blocks of other engravers, retouched them and called them his
own. The number of prints attributed to him is very large, and they
arc prized by good judges. From the similarity of his monogram to
that of Albert Altdorfer, their works are sometimes confounded.
Andreasi, Ippolito, a native of Mantua. A pupil of Giulio Ro-
mano, whom he assisted in his cartoons. Andreasi painted pic-
tures of merit, in S. Barbara and other places.
Andriessen, Jnrriaan, born at Amsterdam (1742-1819). Pupil
of A. Elliger and J. M. Quinkhart. He excelled in decorative paint-
ing, and the new theatre at Amsterdam was decorated by this artist
and Xuvnan. He had several pupils who are distinguished.
Andriessen, Antony, born at Amsterdam (1746-1813). Painted
landscapes and figures with his brother, Jurriaan.
Andriessen or Adrienses, Hendricks, called Mankenhein, corn
at Antwerp, 1GOO ; died at Zealand. 1655. A painter of still life.
Andrioli, Girolamo. A Veronese painter. His name, with the
date 1606, is found on an altar-piece and other pictures in the ch. of
S. Caterina di Siena, at Verona.
Andriot or Ilanderiot, Franz or Francois, born at Paris about
1655. An engraver who worked in Rome and Paris. He followed
the style of Poilly, and although he did not equal that artist his plates
are prized for their subjects and the masters after whom he engraved.
Aneda, Juan de, born at Burgos, where he painted, in 1565, sev-
eral pictures, which are still in the Cath. He was associated in this
work with Juan de Cea.
Anesi, Paolo. A native of Florence. Several of his works are in
the palaces and private galleries of that city and at Rome. He
painted ruins in the manner of P. Panini, as well as landscapes.
Francesco Zuccherelli was one of his pupils.
Angeli or Angelis. There were many artists of this name, but
the facts recorded of them scarcely serve to distinguish them from
each other.
44 ANGELI AXGUIER.
Angeli, Giulio Cesare, born about 1570 ; died 1630. A pupil of
the Caracci. There is a large picture by him in the ch. of S. Agos-
tino at Perugia.
Angeli, Giuseppe, born about 1615. Pupil of Piazzetta. lie
painted some altar-pieces, but principally cabinet pictures.
Angeli, Niccolo. An engraver who flourished about 1635.
Angelis, Peter, born at Dunkirk, 1685; died at Rennes, 173-1.
He went to Flanders, and passed some time there and at Dusseldorf.
In 1712 he went to England, and met with such success that he 10-
mained sixteen years. In 1728 he went to Rome and remained three
years. His pictures were much admired there, but his retiring dispo-
sition and his devotion to his art prevented his pushing his fortune.
He left Italy with the intention of returning to England, but stopped
at Rennes, in Bretagne, where he found so much employment
that he spent the remainder of his life there. He painted landscapes
with small figures and conversations. He was fond of introducing
fruit and fish into his pictures. His designs are graceful and natural,
but his colors sometimes faint and wanting character.
Angelico, Fra Giovanni, da Fiesole. See Fiesole.
Angelini, Scipione, born at Perugia or Ascoli (1C61-1729). A
very skilful painter of flowers. Many of his works were exported
from Rome, where he worked, to France, Holland, and England.
Angelo Pedro. Stirling calls him the first good engraver of
Spain. He engraved several fine portraits for books, among which
were those of Card. Ximenes de Cisneros and Pedro Gon/ale/ do
Mendozn, the great cardinal of Spain.
Augelo, called Angeluccio. Flourished about 1680. A promis-
ing pupil of Claude Lorraine who died young.
Angelo, Michael. See Buonarotti.
Angiers, Paul. An engraver of whom little is known. He re-
sided in London. He was employed mostly by booksellers, but his
best print is a " View of Tivoli," after Moucheron, and there is one
of a " View of Roman Ruins," after Panini. dated 1 741).
Angioletto, of Gubbio, was a mosaist who flourished about 1325.
He worked at Orvieto and at As>i-i. where he assisted in the win-
dows of the lower church.
Anguier, Francois, born at Eu, in Normandy, K504; died in
Paris, 1669. A son of a carpenter who early taught him to carve in
wood. He went afterwards to Paris to study sculpture, and later to
Rome. He was one of the first artists of his time in France, and
Louis XHI. made him keeper of the Gall, of Antiquities, and gave
him apartments in the Louvre. At one time he was employed in
England. One of his best works is a " Crucifix," in the ch. of the
Sorljonne. His sculptures may also be seen in the ch. de L'Or;.-
toire : the ch. S. Andre-ties- Arcs ; and at Moulins. He also exe-
cuted four figures for the tomb of the Duke of Rohan, in the ch. of
the. Celt's; ines, at Paris. His copies after the antique were fine.
ANGUIER ANGUISCIOLA. 45
Anguier, Michel, born at Eu (1612-1C86). Brother of the
preceding, with whom he studied until they went to Rome. Michel
became the pupil of Algardi and worked with him at 8. Peter's and
in several palaces. He remained ten years in Rome and was the
friend of Algardi, Poussin, and Du Quesnoy. In 1651 he returned
to Paris and assisted Francois in his greatest work, the tomb of the
Duke de Montmorenci at Moulins. He made a statue of Louis XIII.
which was cast in bronze. For Queen Anne of Austria he executed
the principal sculptures in the ch. of Val de Grace, and adorned her
own apartments in the Louvre. His " Nativity " in the last named
<;h. is considered his master-piece. He also executed sculptures for
the high altar of S. Denis de la Chartre ; bas-reliefs for the Porte S.
Denis ; the monument of the Duchi ss de Longueville ; the brazen
vase in the garden of Versailles ; and the statues of Pluto, Ceres,
Neptune, and Amphitritc. This artist was professor in the Acad. of
Arts at Paris, and wrote lectures on Sculpture.
Aiiguisciola or Angosciola, Sophonisba, born at Cremona, 1530
or 1533 ; died about 1620. She was of a good family and one of six
sisters. She was first taught by Bernardino Campi, then Bernardo
Gatti, called Sojaro. She came to be considered one of the best por-
trait painters of her age. She instructed her sisters also, four of
whom, besides herself, were artists. Vasari praises her picture of
three of her sisters playing chess with an old woman, and another
group of family portraits, in which her father is introduced. Her
fame was so great that Philip II. invited her to Spain as court
painter, whither she went in 1559. She was received with great
honor and first painted the portrait of the king, with which he was
so much pleased, that he gave her a diamond worth fifteen hundred
ducats and a pension of two hundred ducats. She then painted the
Queen Isabella, and a copy of this picture was sent by her to Pope
Pius IV. with a letter written by her, which Vasari gives, together
with the pope's reply. She painted various princes and persons of
rank, and the whole court, in fact, desired to have her pictures. She
at length married Don Fabrizzio di Moncada, a Sicilian nobleman,
and resided at Palermo, while he lived. The king allowed her a
handsome pension, and at her husband's death desired her to return
to- court, but she preferred to visit her native Italy and on her pas-
sage to Genoa she fell in love with, and it is said, offered herself to
Orazio Lomellino, the captain of the galley in which she sailed, and
of a fine Genoese family. She continued to practice her art in Genoa,
but late in life became blind. In 1620 Vandyck was often with her
in Genoa, where her house was a favorite resort of all artists, and he
was heard to say that he had been more enlightened in painting by a
blind woman than by his own master. When we consider that this
master was Rubens, and Vandyck his favorite pupil, this is great
praise. She painted two portraits of herself which were much ad-
46 ANuUISCIOLA ANSELMI.
mired, and Lanzi says one of them was in the ducal Gall, of Florence,
and the other in the possession of the Lomellini family at Genoa. At
Althorpe, in Northamptonshire, is a portrait of herself playing on a
harpsichord. The picture of her sisters playing chess was in the Coll.
of Lucien Bonaparte, and is somewhere in England ; and the Earl of
Pembroke, at Wilton, had the " Marriage of S. Catherine '' by her.
Her sisters Lucia, Europa, and Anna Maria all painted, but none of
them equalled Sophoni&ba.
Angus, William. Flourished 1786-1820. An English designer
and engraver of public buildings and landscapes. He made plates of
many gentlemen's country seats, and was employed on various topo-
graphical works. He also made engravings from the designs of
others.
Anichini, Luigi, a Ferrarese engraver praised by Vasari.
Anichmi, Pietro. An engraver of whom little is known. Some
of his plates are dated 1655.
Anjou, Rene d', King of the Two Sicilies, Duke of Lorraine,
and Count of Provence, was a painter. His life belongs, however,
to history rather than art. He painted his own portrait, which was
in the chapel of the Carmelites at Aix. There is a print from it in
Montfaufon. He painted missals and miniatures on glass, and it is
said that he also did a portrait of Charles VII. of France.
Anna, Baldassarc d 1 , Flemish by birth, but of the Venetian
school, and a pupil of Corona of Murano. After his master's death
in 1605, Anna completed several of his works. He also painted orig-
inal pictures for the Scrvi, which surpass those of Corona in softness
and the power of chiaro-scuro, but are inferior in design.
Ansaldo, Gio. Andrea, born at Volt re (1584-1638). Pupil of
Orazio Cambiasi ; he also studied the works of Paul Veronese. I It-
was an excellent colorist both in oil and fresco, especially in the lat-
ter. His works are numerous in the churches and palaces of Genoa ;
his chcf-tV atuvre was the cupola of the Xunziata in that city.
Ansaloni, Vincenzio, born at Bologna. Flourished about 1615,
and died young. A scholar of Ludovico Caracci. be became a painter
of some merit. He left two altar-pieces in Bologna. One at S.
Stefano, representing the death of S. Sebastian ; the other a Ma-
donna, in the ch. of the Celestine monks, which is much admired.
Anselin, Jean Louis, born at Paris (1754-1823). An engraver.
His chief works were from the pictures of French masters represent-
ing historical and poetical subj<
Anselmi, Giorgio, born at Verona (1722-1797). Pupil of Bales-
tra. Painted the cupola of S. Andrea at Mantua.
Anselmi. Michael Angelo, called Michelangelo da Siena, born
at Lucca and studied at Siena, but his family were of Parma (1491-
15")4). Bazzi was his master. lie l>ecame a follower and imitator of
Cjrreggio. When the latter painted the Cath. of Parma, Anselmi
ANSELMI ANTONELLO. 47
was one of the artists to whom the chapels were given. He painted
much in Parma. There is a "Madonna" by him in the Louvre.
His designs were weak ; his heads studied, and his colors gay. He
died at Parma.
Ausiaux, Jean Joseph Eleonora Antoine, born at Liege (17G4
-18-10). Pupil of Vincent. He painted historical and poetical sub-
jects, and large numbers of portraits. He ranks among the first art-
ists of his time. There are three pictures by him in the ch. of S.
Paul at Liege. He painted portraits of many eminent statesmen ai d
generals.
Antelami or Antelmi, Benedetto, born at Parma. Flourished
about 1185. A basso-relievo of the " Crucifixion " by this sculptor
is in the Cath. of Parma, and though rude when compared with an-
cient or more modern sculpture, it is excellent for its time.
Anthemius, born at Tralles in Lydia. An eminent architect and
mathematician. In 532 he was employed by Justinian in the build-
ing of the ch. of S. Sophia at Constantinople. In 1777 a fragment
of one of his mathematical works was published at Paris.
Antiquus, Jan, born at Grbningen (1702-1750). He commenced
his artistic career as a glass painter ; he next studied with Jan Abel
Wassenberg, after which he went to France and painted portraits.
At length he went to Florence, where he was six years in the service
of the Grand Duke of Tuscany. After his return to Holland he
painted various large pictures in the Pal. of Loo, one of which was
"Mars disarmed by the Graces." His design and color were good.
Antoliiiez, Don Josef, born at Seville (1639-1676). Pupil of
Don Francesco Rizi. His historical pictures were admired for their
fine landscape backgrounds. He was a man of haughty temper and
sarcastic humor. In the Queen of Spain's Gall, is his " Magdalene in
Ecstasy upborne by angels." The design and coloring are good, but
the saint is too sad for her triumphant position. In the ch. of La
Magdalena at Madrid are the " Miraculous Conception " and the
" Good Shepherd," by Antolinez.
Antolinez de Sarabia, Francisco, died 1700. Nephew of Josef
and pupil of Murillo. Although he made himself a good reputation
as an historical painter, he gave up the profession to practice law,
for which he had been educated at Seville. But not succeeding, lie
was obliged again to paint as a means of living. At this time he
made a series of small pictures from the Bible and the life of the
Virgin, which have been very greatly admired. After the death of
his wife he determined to be a priest, but did not live long enough to
take orders. Palomino says, "in spite of his strange temper and
unsettled habits, a man of large erudition and great powers of mem-
ory, and had an apposite quotation on his tongue for every incident
that could occur."
Antonello da Messina. See Messina.
48 ANTONIO APOLLODORUS.
Antonio, Marc. See Raimondi.
Antonio, Pedro, born at Cordova (1614-107/j). Pupil of Antonio
del Castillo. A good colorist.
An'onisze, Cornelius, born at Amsterdam about 1500. He ex-
celleil in painting views of streets and towns. In the treasury of
Amsterdam is his picture of that city in 153C ; he. also painted twelve
views of its public buildings and engraved them on as many blocks
of wood. These prints are now rare.
Apellea. The most celebrated Grecian painter. He studied
und.r Ephorus at Ephesus, under Pamphilus at Amphipolis, and
later in the school of Melanthius at Sicyon. He combined the ele-
gance of the Ionic, with the accurate science of the Sicyonic school.
The best part of his life was spent at the courts of Philip and Alex-
ander the Great, and he was the only master whom the latter would
allow to paint his portrait. His most famous work was the " Venus
Anadyomene." This was painted for the temple of Asclepius at Cos.
It was taken to Rome by Augustus and placed in the temple of
Caesar, and when it had been injured no artist would attempt its res-
toration. He painted Alexander with a thunderbolt in his hand, for
the temple of Artemis at Ephesus, and the monarch is said to have
declared that there were two Alexanders ; the son of Philip Avho
was unconquerable, and the work of Apelles, which was inimitable.
There are many anecdotes of Apelles, and he is said to have .seen
and admitted the excellences of other artists, but he claimed that he
excelled all in grace. In order to test the accuracy of his works he
was accustomed to expose them in some public place and conceal
himself where he could hear the remarks of those who passed by.
On one occasion a cobbler criticised a shoe ; Apelles corrected the
fault; but when the same man found fault with the leg, the master
rushed out and commanded him to stick to the shoes. Apelles went
to Rhodes, and to the studio of Protogencs when that master was
absent. A panel was there ready for use. Apelles took a pencil and
drew a thin colored line in such a way that when Protogenes saw it
lie, knew who must have done it; he then drew a thinner line of a
different color upon that of Apelles. When the latter saw this he
drew still another line which divided that of Protogenes as he had
divided the first. This panel was carried to Rome, where it. was con-
sidered the most wonderful work of art in the Pal. of the Caesars.
It was burned with that building. No work of Apelles' remains.
Apollodorus. 1. An Athenian painter who flourished about 408
. c. He was the discoverer of chiaro-scuro. Pliny says he was the
first artist whose pictures riveted the eyes. 2. A sculptor. He
made bronze statues ami then destroyed them, because they did not
satisfy him. He was called the "mad-man," and was represented in
that character by the sculptor Silanion. 3. An architect of Damas-
cus. Trajan employed him to build the Forum, Odeum, and Gym-
APOLLODORUS APPELMAN.
49
nasium at Rome. Hadrian, who took offence at some words of Apol-
lodorns', first banished him, and afterwards put him to death.
Apollonio, Agostino, born at S. Angelo in Vado. Nephew of
Luzio Dolci, whom he assisted in the latter part of his life. Apollo-
nio removed to Castel Durante and worked both in stucco and oils.
He was the heir of Luzio.
Apollonio, Jacopo, born at Bassano (1584-1654). Grandson of
Jacopo da Ponte, called Bassano, by whom he was instructed. He
was the best imitator of his master among all his disciples. His
finest work is the " Martyrdom of S. Sebastian " in the ch. of that
saint at Bassano. In the dome of Bassano there is a " Magdalen,"
and at the Riformati a picture of " S. Francis," by Apollonio.
Apollonius 1 . Born at Tralles and a brother of Tauriscus. These
brothers were the sculptors of the
group called the " Farnese Bull,"
which represents the punishment
of Dirce. This group, now at
Naples, was taken from Rhodes
to Rome by Asinus Pollio ; it was
found in the excavation of the
Baths of Caracalla in the 16th
century, and placed in the Far-
nese Pal. Battista Bianca, of Mi-
lan, undertook its restoration, but
his work is very unlike the orig-
inal. It was originally made of a
nn<jle block of marble. It is be-
lievcd that these sculptors lived
in the first century of the Chris-
tian era. 2. An Athenian sculp-
tor, son of Nestor, and the author
of the ' Torso of Hercules " in the
DIRCE. (NAPLES.)
Belvedere, one of the most splendid remains of Grecian art. There
is also a statue of ^Esculapius at Rome by this master. 3. Another
Athenian sculptor, son of Archias. He executed the bronze head of
a young hero, found at Herculaneum. 4. A sculptor, whose name is
on a beautiful statue of a young satyr in the Coll. of the Earl of Egre-
mont at Petworth, Sussex, England.
Appelius, Jean, born at Middlebourg. Flourished about 1778.
Painted history, portraits, and landscapes. His pictures are mostly
large. He had more than ordinary talent.
Appelman, Bernard or Barent, born at the Hague (1640-1G86).
It is not known where he studied, but the fact that many of his pic-
tures are of Italian scenery indicates that he visited Italy. The
Prince of Orange employed him a long time. The landscapes which
he painted in the Pal. at Soesdyk are good in style and color. He
50 APPELMAX ARALBI.
painted landscape backgrounds to the portraits of other artists. ;m 1
also painted portraits himself.
Appiani, Andrea (1 7a4-18l8). An Italian, who painted in oil
and fresco, in an original and graceful style. His frescoes in the
imperial pal. at Milan are simple and grand. The portrait which he
made of Napoleon, who had appointed him his painter, is in Eng-
land. He was made a knight of the Iron Crown and a member of
the Legion of Honor, but when the Bourbons were restored his pen-
sion was taken away. In 1813 he had a stroke of apoplexy, and IH--
came so poor that he was forced to sell his drawings, and everything
of value that he possessed.
Appiani, Francesco, born at Ancona, 1702. Pupil of Magatta.
In S. Sisto Vecchio at Rome, he painted in fresco, for Benedict XIII..
a picture of the " Death of S. Benedict." The pope gave him a
gold medal. lie settled in Perugia, was presented with the freedom
of the city, and labored until he was ninety years old with a vigor
equalled only by that of Titian. Perugia is full of his pictures, and
there are many of them in England.
Aquila, Francesco Faraone, born at Palermo, 1676. A designer
and engraver. A brother of the celebrated Retro Aquila. In 1700
he established himself in Rome. Some of his engravings are highly
esteemed. Besides detached pieces, he made twenty-two plates,
called " Picturae Raphaelis Urbinatis ex aula et conclavibus Palatii
Vaticani, etc., Franc. Aquilo, del. et incid. 17-J--V
Aquila, Giorgio, (ailed Maestro (Jiorgio da Firenzi, flourished
from 1314 to 1325. Said to have been the first Italian artist who
used nut oil.
Aquila, Pietro, born at Marzalla. The early part of his life was
passed in a seminary preparing for the priesthood. He went to
Rome in 1700 with his brother Francesco, and became a monk, but
in his seclusion he was devoted to art. He painted only tolerably,
but excelled as an engraver. His best prints are after the Caracci.
and these arc highly esteemed. The number of his works is very
large, and some of them are after his own designs. His drawing is
correct and his etching bold and free. The ' Farnese Gallery " with
the statues and ornaments, is one of his best works.
Aquila, Pompeo dell'. Flourished in the last part of the 16th
century. A painter of history in oil and fresco. Several of his
frescoes are in his native city, Aquila. At Rome, in the ch. of S.
Spirito in Sassia, there is a fine ' Deposition from the Cross " by this
master.
Araldi, Alessandro, born at Parma (146f>-1528). Painted his-
tory. Lanzi says, " was indisputably a good artist in the mixed
manner, that is now called tinlico tnodcrno." His pictures arc con-
fined to Parma. He had little originality. The following is a list
of his works: Duomo, fresco, on the wall to the right as you
ARALDI AHDELL. 51
enter; "Virgin and Child'' with S. Joseph and a kneeling man;
Parma Gall., an "Annunciation" on wood, painted in oil; ch. of
S. Paolo, a room painted in various designs ; ch. of S Sepolcro, pic-
ture of " S. Ubaldus, between the archangels Michael and Ra-
phael ; " with an ' Annunciation" and " Pieta" in the pediment.
Arbasia, Cesare, born at Saluzzo. Flourished 1&83-1614. A
pupil of Federigo Zucchero. Painted in oil and fresco, but excelled
in the latter. He went to Spain and worked in Cordova and Ma-
laga. In 1583 he painted the ' Martyrs " of the former city in the
Cath. For a picture of the ' Incarnation,'' in the Cath. of Malaga,
he received three thousand ducats. About 1588 he went to Rome
with his former master. He was one of the founders of the Acad.
of S. Luke, of which Federigo was the first president.
Arce, Josef de. A pupil of Martinez Montanes. He executed
ein'ht colossal stone statues, representing the four Evangelists and
four doctors of the Church, which were placed on the balustrades of
the Sagrario of the Cath. of Seville. He also carved in wood the
saints which adorned the high altar of the Carthusians at Xeres.
Archer, Wykeham, born at Newcastle-upon-Tyne (1806-1864).
He studied engraving with John Scott of London. He made etch-
ings of places of interest at Newcastle and Hexham. At Edinburgh,
he made drawings of the streets and edifices of the town, and re-
turned to London to perfect himself in etching upon steel. He was
a member of the new society of painters in water-colors. Mr. Ar-
cher was author of "Vestiges of Old London," illustrated by etch-
ings ; and a contributor to different journals. He claimed to have
revived the practice of engraving in monumental brass, and executed
works of that description. He also painted a little in oil.
Arcimboldi, Giuseppe, born at Milan, 1533; died at Prague,
1593. H.- was court painter to Mixi nilian II. and the Emperor
Rodolph. lie excelled in painting interiors, kitchens, fruits, vege-
tables, utensils, etc. He also painted capricci, or pictures which
looked like figures in the distance, but fell into heaps of flowers and
leaves as one approached them.
Arco, Alonso del, horn at Madrid (1625-1700). Called El Sor-
dillo de Pereda, and a disciple of Antonio de Pereda. He was deaf
and dumb from his birth. Palomino praises him. Stirling pays his
pictures were mostly painted for public occasions, such as triumphal
processions, etc. Many of his works were in the public buildings of
Madrid and throughout Spain.
Ardell, James Me, born about 1 710. A native of Ireland, or the
son of Irish parents. One of the best mezzotinto engravers. The
number of his plates is large. Many of them are portraits of dis-
tinguished men of his time. He left a few plates of historical sub-
jects after Vandyck, Murillo, Rembrandt, etc., some of which are
extremelv fine.
52 ARDEMANS ARETUSI.
Ardemana, Teodoro, born at Madrid, 1G64. An eminent archi-
tect, sculptor, and painter. He studied in the school of Coello. His
attention was so given to his other pursuits that his pictures were
few. That in the vault of the sacristy of S. Francis at Madrid is a
chef-craeuvre. In 1689 he was master of works to the C'ath. of Gra-
nada, where he distinguished himself as a civil engineer. In 1691 he
went to Madrid, and filled the place of master of works to the muni-
cipality while that functionary was sick. In 1694 he was appointed
to the same post at Toledo, and in 1700 at Madrid. In 1 7u2 Philip
V. made him superintendent of works at the Alcazar. In 17:i( he
was made painter-in-ordinary, and received a key as deputy-Aposen-
tador. He made designs for various public occasions, funerals, etc.:
the plans for the collegiate church ami high altar; for a lanre part of
the Pal. and gardens of S. Ildefonso; and for the ch. of S. Millan at
Madrid. It is said he also made some engravings. He wrote and
published works on engineering and architecture, and a eulogy upon
Palomino.
Ardente, Alessandro. Flourished 1565-1595. He was a Pied-
montese, but the exact place of his birth is not known. Many of his
works are at Lucca. At Turin, at the Monte dclla Pieta. there is a
picture of the " Conversion of S. Paul," which indicates by its >t\le
that he studied at Rome. At the time of his death he was painter
to the court of France.
Aregio, Pablo de. Flourished 1506. He is classed among Span-
ish painters, but it is probable that he was an Italian, and of the
school of Leonardo da Vinci. He painted, together with F. Neapoli.
the doors of the great altar in the Cath. of Valencia. Lonir afterwards
Philip IV. said of them, "the altar was silver, but its doors were
gold."
Arellano, Juan de, born at Santorcaz (1614-1676). A pupil of
Juan de Solis. He did not succeed at first, and began to copy the
pictures of Mario dei Fiori. He studied nature closely, and at length
excelled in flowers and fruits. His pictures are seen in mo-t Spani>h
collections and are highly esteemed.
Aretino, Spinello, born at Arezzo (1328-1400). He painted at
Are/xo, Florence, Siena, and in the Campo Santo at Pisa. In S.
Angelo at Arezzo he painted the " Fall of the Angels," in which
Lucifer was so terrible that the remembrance of it affected the mind
of Spinello, haunted his dreams, and, in truth, hastened his death.
In general Spinello was sketchy and unequal in execution, but showed
great talent in the vehemence of his conceptions. He painted the
hi-tory of S. Benedict in the Sacristy of S. Miniato at Florence.
These pictures are well preserved, ami some of them are among the
most spirited conceptions of all the pictures of the school of (Jiotto.
Aretusi, or Munari degli Aretusi, Cesare. Called by some Mo-
denese, because born at Modena, by others Bolognese, since he lived
ARETUSI ARIAS. 53
and took tip his citizenship at Bologna ; died at Parma about 1612.
He formed his style after Bagnacavallo. He was the intimate friend
of Gio. Batista Fiorini, and they painted much together. Aretusi
excelled in color and Fiorini was full of fine conceptions. Lanzi be-
lieved that in every work attributed to Aretusi we should look for
assistance from some other artist. But he excelled in portraits with-
out the aid of any one, and surpassed in imitation. He could assume
the style of almost any artist with wonderful exactness. He made a
copy of the " Xotte " of Correggio for the ch. of S. Gio. di Parma,
which Mengs declared would be a good substitute for the original.
The excellence of this performance obtained for Aretusi the honor
of restoring the picture which Correggio had painted for the tribune
of the same church, and this last work was so well done that many
believed it to be the original of Allegri.
Arevalo, Juan Cano de, born at Valdemoro (1656-1696). Scholar
of Francisco Camilo. He excelled in designing small figures, and at
length painted most exquisite fans. But the Spanish ladies thought
the French fans exceeded all others, and would not buy those made
at home. Arevalo shut himself up and finished a great many very
beautiful ones, and then displayed them, pretending that they were
French. Before his deceit was detected his fans were so much ad-
mired that he was appointed abaniquero or fan-painter to the queen.
He did some pictures in distemper in the ch. of Valdemoro. When
the queen, Maria Louisa, died, he designed a strange allegorical pic-
ture which represented her as a glorious spirit within a halo of rays,
each ray containing a text which alluded to one of her many virtues.
He went to Alcala to assist in painting some altar-pieces for the
Jesuit college and the ch. of S. Maria. While there he died of a
wound received in a duel. His fans were his best works, and so fine
that they were preserved in cabinets after they were no longer used.
Arfian, Antonio de. Flourished 1551. He studied with Murillo
and L. de Vargas. He did several important works, and together
with Antonio Ruiz painted the great altar-piece of the Cath. of Se-
ville. This artist first introduced at Seville the painting of landscape
and perspective backgrounds for bas-reliefs. He added to them
painted figures which appeared to be carved like the rest. He also
introduced improvements in the coloring of draperies on statues.
Arias, Fernandez Antonio, born at Madrid; died 1680 or 1684.
Studied with Pedro de las Cuevas. When but fourteen he painted
the large altar-piece of the Carmelites at Toledo. This was much
admired, and he was incited to greater application to his studies by
the praises he received. At twenty-five he was one of the best
painters at Madrid. The Duke d'Olivarez employed him to paint
the portraits of the kings of Spain. After all his success, and his
favors at court, he died in a hospital, although his life had been be-
yond reproach. His daughter, who survived him, was a painter of
54 ARIAS ARTEAGA.
some merit. In the Queen of Spain's Gall, there is a picture by
Arias of "The Pharisees asking Christ concerning the Tribute
Money."
Aristeides. 1. Lived about 360 B. C. One of the most, celebrated
Greek painters. A native of Thebes, son of Aristodemus, and pupil
of Euxenidas and Nicomachus. He excelled in depicting the passions
and feelings which are observed in common life. It is said that the
tirst foreign painting ever displayed in Rome was by this artist, and
represented " Bacchus." It was brought to Rome by Muinmius, and
placed in the temple of Ceres. 2. A sculptor celebrated for his
statues of two and four-horsed chariots.
Aiiaiid. James Anthony, born at Geneva (1668-1743). lie first
painted small miniatures for the jewellers, but at length did some
portraits, which were so successful as to induce him to go to Paris.
Here he was patronized by the Duke of Orleans, who gave him
apartments at St. Cloud, and took lessons in painting from him. He
devoted himself to his profession, in order to merit his good fortune,
and became a favorite of the Princess Palatine. She gave him her
portrait set with diamonds, and when he would go to England, she
gave him a letter recommending him to the Princess of Wales,
afterwards Queen Catherine. Arland painted her portrait, and was
patronized by many of the nobility. Me returned to Paris, and a
few years after, having acquired an ample fortune, he settled in his
native city, in which he remained until his death.
Armanno, Vincenzio (1598-1649). A Fleming by birth. He
painted landscapes and lived at Rome. His pictures are praised for
their truthfulness, color, and shading. His figures are good and his
invention copious. It is said that he was imprisoned in Rome for
eating meat on fast days, and that on his liberation he left the city in
disgust and went to Venice, where he died.
Arnolfo, erroneously called di Lapo, was the son of Cambio of
Colle de Val d'Elsa (1232-1310). A disciple of Niccola, under
whom he worked at Sienna. When he died he held the ollice of
chief architect and sculptor of S. Reparata at Florence. Many archi-
tectural monuments were assigned to him. but most of them have
perished. The tomb of Card, de Hraye, in S. Domenieo at Orvieto,
was executed by him in 1280. This is a mixture of mosaic, sculp-
ture, and architecture, and affords but small opjxjrtunity for judging
of his merits.
Arpino, il Cavaliere d'. See Cesari.
Arredondo, Don Isidore, born at C'olemar de Oreja (1653-1702).
A pupil of Josef Garcia, and later of Francesco Ri/.t. IK; painted
history with great success, and at the death of Ri/,i was appointed
court painter by Charles II. Palomino mentions a large and very
grand picture of the " Incarnation " by Arredondo.
Arteaga y Alfaro, Matias, born at Seville; died, 1701. Pupil
ARTEAGA ASPERTINI. 55
of Juan de Vakles. An eminent painter and engraver. He painted
many perspective views, into which he introduced the stories illustra-
tive of the legends of the Virgin. He was secretary of the Acad.
of Seville, at the time of his death.
Artois, Jacob van, born at Brussels (1613-1665). Probably
studied with Lodewyck de Vaddcr. Many of his pictures are very
large. He painted only landscapes, and the figures in his pictures
were done by Teniers, Van Herp, Gerard Zegers, and Gaspard de
Craeyer. They sometimes represented Scripture stories, and are seen
in the churches of Belgium. The pictures of Artois faithfully rep-
resent the scenery of his native country. His pencil was light and
free; some of his works are grandly poetic, and his foliage so p.-r-
fect that it seems to be in motion. His coloring is not of the best.
His pictures are numerous, and very unequal in merit and value.
The Dresden Gall, has a fine small picture by this master, No. 956.
The Gall, at Brussels has four; Xos. 37, 1, and 4 are the best. The
figures in the first are by Van Herp. In No. 4, they are by Gaspard
de Craeyer and Peter Snayers, and represent " S. Hubert adoring
the Crucifix." In the Vienna Gall, are two large pictures with fig-
ures by Gerard Zegers. In private galleries in England there are
'good pictures by Artois.
Asper, Hans, born at Zurich (1499-1571). He painted portraits
in the style of Holbein, and gained a reputation which has been in-
jured by his pictures being sold for those of Holbein. The portraits
of Zuinglius and his wife, in the library at Zurich, are by Asper.
His drawings of game, flowers, and birds, were much esteemed. A
medal was given him to record his merit, and yet he lived and died
in poverty.
Aspertini, Amico, born at Bologna (1475-1532). Scholar of
Francis Francia. Very peculiar in character all his life, and insane
before his death, according to Vasari, who says that lie studied art
by going through all Italy and making copies of all that pleased him.
He could paint with both hands at the same time, and was called
Amico da due Penelli. His earliest works are in S. Cecilia at Bo-
logna, and are much injured. At S. Frediano in Lucca, there are
nine pictures by this master, in the chapel of S. Agostino. They
.ire much injured. His other works are, Berlin Mus., Xo. 119,
"Nativity;" Bologna Gall., Xo. 297, "Virgin and Child," with
several saints and the portraits of two patrons ; Madrid Mus., Xo.
885, " Rape of the Sabines ;" Bologna, ch. of S. Martino Maggiore,
" Virgin and Child " with saints, among which is S. Xicholas giv-
ing their dowry to three young girls. At Ferrara, in the Strozzi
Pal., a " Predella " with four scenes from the life of Mary.
Aspertini, Guido, born at Bologna, about 1460. Scholar of Er-
cole di Ferrara. Died young. His principal work was an " Adora-
tion of the Magi," now in the Gall, of Bologna (Xo. 9). It is some-
what fantastic, but a pleasing picture.
56 ASSCIIE ATHANASIO.
Assche, Henri van, born at Brussels (1775-1841). Studied
first with his father, and then with De Roi of Brussels. His pictures,
which arc landscapes, may be seen at Ghent, Lille, Haerlem, and
Brussels. In some there are figures and animals by Ommeganek.
Asselyn, Jan, born at Dicsseu. near
Amsterdam. Scholar of Esaias van de
Velde, and Jan Miel. He went to Italv
in 1630, and remained fifteen years. He painted landscapes which
are remarkable for tender coloring, good drawing, and poetic concep-
tion. His works are highly esteemed. In the Louvre there are four.
In the Van der Hoop Coll. at Amsterdam, a fine one, with a massive
ruin in the foreground and blue mountains in the distance. In the
Munich Gall. Cabinets, No. 445 has a fine effect of chiaro-s<-i-.m.
It represents a ruined castle on a rock. In the Coll. of T. Baring,
Esq., England, a picture of a Woman and Cattle reflected in the
water, at the entrance of a cave, is one of the best works of Asselvn.
Assen, Jan Walther van. Said to have
, , l been born in Holland, about 1490. One of the
A /A>V ./T K\ earliest engravers on wood. His cuts are highly
prized by collectors. A contemporary of Lu-
cas von Leyden, he seems to have had the same rank in wood en-
graving that Lucas held in engraving on copper. Little is known of
his life. He was living in Amsterdam in 1517. His works are as
follows :
A set of six prints, circular, representing the Passion of Christ,
marked with his cipher, and dated 1513 and 1514.
A set of six large prints of different subjects in architectural com-
partments. In tlie middle of each the words : 1. Supcibia; 2. Lnx-
uria ; 3. Invidia ; 4. Ira; 5. Gula ; 6. Avaricia ; and their opposite
virtues.
A small print of an armed Figure on Horseback; inscribed S/.
Hadrianus Ainstelwlamus in ^Edibus Donanli I'l-li'l, etc.
Asserreto, Giovacchino, born at Genoa (1GOO-1649) Studied
under Borzone and Ansaldo. When but sixteen he painted a
" Temptation of S. Anthony." There are altar-pieces painted by
Asserreto in several convents and churches at Genoa.
Asta, Andrea dell', born at Naples (1G73-1721). Scholar of
Francesco Solimene. He went to Rome, where he studied the works
of Raphael. His best pictures are the ' Nativity," and the * Ado-
ration of the Magi," painted, after his return to Naples, for the eh.
of S. Agostino.
Astley, John, born at Wemm, Shropshire, England. A portrait
painter, who studied under Hudson. He visited Italy. His portraits
were fine, and he was rapidly acquiring great reputation, when a
wealthy lady, whose portrait he had painted, offered him her hand.
After his marriage he relinquished his profession. Died 1787.
Athanasio, Don Pedro. See Boccanegra.
ATHEXODORUS AUBIN. 57
Athenodorus. See Agesander.
Attavante or Vante. Living in 1487. This artist was a celebrated
illuminator of MSS. Lanzi says, the excellence of this artist ought
to confer on him " greater celebrity than he enjoys." He orna-
mented many books for Matthias Corvinus, king of Hungary. These
afterwards remained in the Medicean and Esteusean libraries. A
magnificent Missal which Attavante illuminated for Matthias is now
in the Library at Brussels. It was probably brought to Brussels by
Maria, sister of Charles V., and wife of Ludwig II. of Hungary.
After the death of her husband she obtained the government of the
Netherlands. The regents of Belgium formerly took their oaths
upon this volume. The first to do so were Archduke Albert and
Isabella, in 1599 ; the last was the Prince of Saxen-Teschen, in the
name of Joseph II., in 1781.
Attiret, Jeau Denis, called Frere Attiret, born at Dole, 1 702 ;
died at Pekin, 1768. After studying at Rome, and distinguishing
himself by his pictures at Lyons, he became a Jesuit at Avignon.
About this time the Jesuit missionary at Pekin sent to France for a
painter. Attiret was chosen to make this journey, and left France
in 1737. A picture which he presented the emperor, soon after his
arrival, so pleased his majesty, that he wished to employ Attiret con-
tinually, lie wished him to work in water-colors, for he did not like
the gloss of oil. His commissions were so numerous that he was
obliged to employ Chinese assistants, who had at first been jealous of
him, but at length became reconciled to his supremacy. He became
a great favorite, even among the painters, and was able to establish
a drawing-school. About 1 760 the emperor obtained victories over
Tartar tribes with whom he was at war. Attiret was ordered to pro-
ceed to the northwest part of the empire, where he made accurate
sketches of triumphal processions, festivals, etc. From these he
painted pictures which so pleased the emperor that he desired to
make him a mandarin, which honor Attiret declined. All -the princi-
pal men of the empire sat to him for their portraits some of them
travelling eight hundred leagues for the purpose. Sixteen of these
portraits were sent to Paris to be engraved at the expense of the em-
peror. Very few impressions cf these plates were reserved in France,
and they are extremely rare. They were of immense size. When
the artist died the emperor ordered two hundred ounces of silver to
be given towards the expense of his funeral.
Aubert, Augustine, born at Marseilles, 1781. Painted history and
landscapes. The latter are principally from scenery about Marseilles,
and the former represent sacred subjects, and are often very large.
Aubert, Michel, born at Paris (1 700-1757). An engraver of por-
traits and historical subjects. He seems to have imitated Gerard
Audran. but with small success.
Aubin, Augustine de St., born at Paris (1736-1807). A skilful
58 AUB1X AUDUAN.
engraver. He engraved the works of several French and Italian
masters.
Aubiii, Augustine de St., born at Paris. 1720. An engraver of
merit. Scholar of Laurent Cars. lie engraved the coll. of nearlv
three thousand medals belonging to M. Pellerin, and the gems of the
Duke of Orleans, besides an immense number of portraits, historical
subjects, vignettes, ornaments for bocks, etc.
Aubin, Charles Germain de St., born at Paris, 1721. Brother of
the preceding, and an engraver.
Aubin, Gabriel Jaques de St., born at Paris. 1721. Brother of
the preceding. He painted historical subjects, and also engraved a
few plates from his own designs.
Aubriet, Claude, born at Chalons-sur-Man.e (HJ/il-l 7 13). A
pupil of Joubert. He distinguished himself first as a miniature
painter. He was appointed to make drawings of objects of natural
history at the Jardin des Plantes. He accompanied Tournet'ort to
the Levant, and the plates which afterwards illustrated the Klc-
ments dc Botanique " were after the designs of Anbriet. At tin-
death of Joubert he was appointed painter to the king in the Jardin
des Plantes, and many of his drawings arc now in the library of the
Jardin. There are also five folio volumes of his designs in the Ko\al
Library at Paris. He was a botanist, and the plates in ' Tourne-
fort's Voyage to the Levant " wen; after his designs.
Audenaerde or Oudenaerde,
Robert van ' lj(>rn at < ; hcut
(lUtt-174:J). A good painter,
and celebrated engraver. A scholar of Francis van Mierhop and
John van Cleef. At twenty-two years of age he went to Rome,
and there studied under Carlo Maratti. He became, a reputable
painter of historical pictures. In leisure moments he amused himself
by making plates, and when these were seen by Maratti he advised
his pupil to devote himself to engraving. The plates in which he
used the point are much finer than those done entirely with the
graver. The principal part of his prints were after the pictures of
his Italian master. His drawing is very correct and shows perfect
knowledge of the human figure. His paintings are (mite in the style
of Maratti. His chef-tFceuvre is the altar-piece in the ch. of the
Carthusians at Ghent. It repre>ent> the appearance of S. Peter to a
number of monks. In the ch. of S. James is his picture of S. Cath-
erine refusing to worship the False (Jods." Other churches and
convents of his native city po>sess works of this artist.
Audouin, Pierre, born at Paris (17(38-1822). An eminent en-
graver and a [nijiil of Beauvarlet. He engraved several of the finest
paintings of the Italian and Dutch masters for the coll. of the Mus.
published by Laurent.
Audran, Benoit, born at Lyons (1661-1721). Sou of Germain
AUDHAX. 59
Audran, -with whom he first studied, but later he became the pupil
of the celebrated Gerard, his uncle. Although he did not equal the
latter, he was an excellent artist. He was a member of the Acad.
and engraver to the king. He engraved many portraits and his-
torical subjects. His style was, like his uncle's, clear and bold, his
drawing correct, and his heads full of expression.
Audran, Charles, born at Paris (1594-1674). This name was
eminent among French engravers for more than a century. Charles
was the first to make it so. His disposition for the art was shown very
early, and he was still quite young when his plates attracted atten-
tion in Rome, where he had gone to study. He imitated the style
of Cornelius Bloemaert, and used only the graver. His works were
finished with great care. His earlier plates were marked with a
('., but when his brother Claude used the same letter, he changed to
K., the initial of Karl.
Audran, Claude, born at Lyons (1639-1684). After studying
drawing at Paris under his uncle, he went to Rome. He drew well
and had great facility in execution. He returned to Paris, and was
engaged as an assistant by Le Brim. Under the direction of the
latter he painted the grand staircase at Versailles, the Gall, of the
Tuileries, and the Chapel of Colbert's Chateau de Sceaux, all in
fresco. He became an imitator of Le Brim, whom he also assisted
in his " Battles of Alexander," and many other works.
Audran, Gerard, born at Lyons (1640-1703). Son of Claude and
nephew of Charles. This artist may be said to have reached perfec-
tion in engraving. He studied first with his father, then with his
uncle, and finally at Rome, it is believed under Maratti. He was in
Rome three years, and made a portrait of Clement IX. and other
plates, which gave him such a reputation that he was recalled to
Paris by Colbert. He was soon appointed engraver to the king, with
a generous pension and apartments at the Gobelins. He became in-
timate with Le Brim, and some of his finest plates are after the
paintings of that master. The ' Battles of Alexander" cannot be
too highly praised. His plates were very numerous.
Audran, Germain, born at Lyons (1631-1710). Nephew of
Charles and Claude, and inferior to some members of his family in
artistic merit. He engraved portraits, ceilings, ornaments, vases, etc.
Audran, John, born at Lyons (1667-1756). Son of Germain, and
brother of Benoit. After studying with his father, he too was placed
under the famous Gerard, and became a celebrated artist. He was
made engraver to the king, and had a pension and apartments at the
Gobelins, in 1707. His prints are numerous, and he continued to
labor after he was eighty years old.
Audran, Louis, born at Lyons (1670-1712). Youngest son of
Germain. He also studied under Gerard. He assisted his brothers
in then- plates, and did not execute many of his own. He also en-
graved copies of the large historical plates of his relatives.
CO AUDUBON AVELINE.
Andubon, John James, born in Louisiana (1782-1851).
artist, distinguished for his drawings of the ''Birds of America."
He studied painting in Paris under the celebrated David. His plates
are very perfect, of the size and color of life, and the beaks, talons,
and legs are of accurate dimensions. The book was thirteen years
in preparation and was published in Edinburgh; this time does not
include the making of a large portion of Audubon's pictures. Jt has
435 plates, containing 1,065 figures. Cuvier pronounced it the
most gigantic and most magnificent monument that had ever been
erected to Nature." Audubon was also the author of ' Ornithol.._r-
ical Biography," and at the time of his death was at work upon the
" Quadrupeds of America,"
Augur, Hezekiah, son of a carpenter, born in New Hampshire
(1791-1858). He was first a shoemaker's apprentice, then a trades-
man in New Haven, where he failed. He partly paid his debts by
carving ornamental furniture, and invented a machine for weaving
worsted lace. Gradually he turned his attention to sculpture. lie
copied a "Head of Apollo," and in 1827 executed a Washing-
ton" and a " Sappho," which established his local fame. His be>t
work was the group of " Jephtha and his Daughter." still preserved
in Yale College Gall. This obtained for him several commissions lor
busts and monuments.
Austin, "William, born in London about 1740. An engraver an 1
a pupil of George Bickham. He engraved some landscapes after
Ruysdael and other artists, but his principal work was a set of
plates, of views of Palmyra and its Ruins, and of Ancient Rome.
Auzon, Madame, born in Paris, 1775. She studied under Reg-
nault. Painted portraits and familiar subjects. Several of her pic-
tures have been engraved.
Avanzii or Avanzi, Jacopo degli. An ancient painter of Bo-
logna, of whom little is known. He flourished about the middle of
tin- Mih century. In the Colonna Gall, at Rome, there is a " Cruci-
fixion " by this master, and Nos. 159, 160, 161, of the Bologna
Acad. are also his. In the ch. of Mczxarata he painted pictures
which Malvasia asserts were praised by Michael Aiinvlu and the Ca-
racci. These have been whitewashed, and restored, and are verv
imperfect.
Avanzi, Giuseppe, born at Ferrara (1655-1718). School of Co-
stanzio Cattanio. He is noted for the numbers of his works, rather
than for excellence. Most of them were for the convents and
churches of his native city.
Aved, Jacques Antoine Joseph, born at Douay (1 702-1766).
Pupil of Picard and a portrait painter of merit
Aveline, Anthony, born at Paris, 16C2. Designer and engraver.
His principal works were views of the palaces and chateaux of Eu-
rope.
AVELINE AZZOLINI. 61
Aveline, Pierre, born at Paris, 1710. Designer and engraver.
Scholar of John Baptist Poilly. His subjects were often trifling and
insignificant, his drawing stiff, though not incorrect.
Aveline, Francis Anthony, born at Paris, 1718. Cousin of the
preceding. An engraver of small reputation, and worked mostly for
booksellers.
Avellino, Giulio, called II Messinese, born at Messina (1645-
1700). A landscape painter, said to have studied with Salvator
Rosa. He settled at Ferrara, and was much' employed by the nobil-
ity of Ferrara and Cremona. He painted in the grand style of Rosa,
and introduced ruins, architecture, and figures into his pictures. His
pictures are valued, and are in many collections.
Avellino, Onofrio, born at Naples (1674-1741). Said to have
been a pupil of .Francesco Solimene. In Rome he painted an altar-
piece in the ch. of S. Maria di Montesanto, and the vault of the ch.
of S. Francesco di Paola, which last is considered his best work.
Avibxis, Gaspar Ab or Patavinus, born at Padua, 1530. An
en"raver whose principal work was a large volume containing the
portraits of the Royal House of Austria, full-lengths, signed Caspar
Patavinus, incisor. 1569.
Avogadro, Pietro, called Bresciano, born at Brescia. Flourished
about 1730. A scholar of Pompeo Ghiti. His coloring was Venetian,
especially in the carnations. The whole style of his composition and
painting is pleasing. By some he is said to rank as the fourth among
the artists of Brescia, that is, after Bonvicino, Gambara, and Savoldo.
His "Martyrdom of SS. Crispino and Crispiano," is his principal
work, and is in the ch. of S. Joseph at Brescia.
Avont, Peter van der, born at Antwerp
/L ~\J CX about 1619 A fine landscape painter, and an
eminent engraver. He often painted figures in
the landscapes of Vinckenboom.
Avril, Jean Jacques, born at Paris (1744-1832). An engraver
whose works are much admired. Scholar of J. G. Wille. He left
about 540 plates, some of them large.
Avril, Jean Jacques, born at Paris (1771-1831). Son of the pre-
ceding. One of the engravers employed by Laurent. His plates of
many of the pictures and statues of the Louvre are excellent.
Axtmann, Leopold, born at Fulneck ; died at Prague (1700-
1748). An animal painter. He rivalled his master, John George
Hamilton, in reputation. His pictures are in Bohemia. He painted
dogs and horses excellently.
Ayala, Barnabi de. Painter of history at Seville. Scholar of
Zurbaran. He so well imitated his master that it is believed that
the pictures of Ayala are sold as those of Zurbaran. He was one of
the founders of the Acad. of Seville.
Azzolini or Mazzolini, Gio. Bernardino, born at Naples.
62 AZZOLINI I5A( -IIKLIKR.
Flourished 1510. He resided chiefly at Genoa, and his pictures arc
in the chnrehes and convents of that city. lie excelled in wax-work,
and formed heads with a wonderful expression of life.
B.
Baader, Amalie, born in Erding, Bavaria, 1763. An amateur en-
graver. She studied under J. Dorner. Her mark is an A and 15
interlaced, and is founcl on copies after Rembrandt, Schmidt, and
some Italian masters.
Baak, Hattigh Jan. An artist of Utrecht about the middle of
the 17th century. In the hospital of S. Job of Utrecht there is a
work of his dated 1642. It is a landscape, with figures, and from its
style he was probably a pupil of Poelcmburg.
Baan, John de, born at Haerlem, 1633 ; died at the Hague, 1 702.
An eminent portrait painter. Instructed first by an uncle named
Piemans, he then studied under Jacob de Backer. He succeeded M>
well in portrait painting, that he confined himself almost entirely to
that branch of art. He was an admirer and worthy imitator of Van-
dyck. Charles H. of England was anxious to be painted by J)e Iiaan.
and invited him to his court for that purpose, where he also painted
many of the nobility. When Louis XIV. had conquered a part of
Holland, he sent to Utrecht for this artist to come and paint his
portrait. But he received a refusal, the excuse beiii'_ r . that when his
country was in the midst of mourning, he could not trace tin- features
of her conqueror. One of the best works of De Baan is his portrait
of Prince Maurice of Xassau-Ziegen.
Baccarini, Jacopo, born at Reggio (1630-1682). Painter of his-
tory and a pupil of Orazio Talami. Two of his best works are in
the ch. of S. Filippo at Reggio, and represent the "Death of S.
Alessio " and the " Repose in Kgypt."
Baccicio. See Gaulli.
Baccio. See Delia Porta.
Bacheley, Jacques, born at Pont 1'Evdquc in Normandy (1712-
1781). An engraver and designer. Member of the Acad. of lumen.
We have prints of landscapes after Dutch masters by this artist.
Bachelier, Jean Jacques, born at Paris (1 724-1S05). As an ar-
tist he is unimportant, but he gained a fortune of 60,000 francs,
which he devoted to the establishment of a free school of drawing
for artists. He was director of the porcelain manufactory at
Sevres, and greatly improved its taste. Bachelier assisted Count
de Caylus in his attempt > to discover the ancient method of en-
caustic painting, and invented a kind of encaustic varnish to pre-
serve marbles from the action of the weather. He also wrote two
books entitled " Le Conseil de Fauiille," and a " Me'moire sur
1'Education dee Filles."
BACHELIER BAERSE. 63
Bachelier, Nicholas, born at Toulouse (1496-1554). An unim-
portant sculptor and architect.
Bachiaca. See Ubertino.
Backereel, Giles. An artist who adorned many of the churches
of the Low Countries. A contemporary of Rubens, and like him in
style. One of the best artists of his country, when art was at its best.
An altar-piece of his in the Cath. of Bruges, represents " S. Charles
Borromeo administering the Sacrament to those stricken with the
Plague.'' A grand and striking composition, with fine coloring. In
the ch. of the Augustincs at Antwerp, there is a fine " Crucifixion "
lw Backereel, and at the Franciscan ch. at Brussels, a picture of the
Virgin and Child." with S. Beatrice and other saints.
Backhuysen, Ludolf, born at Einbden, 1631 ; died at Amsterdam,
1 709. Until he was eighteen years old, he was employed in mercan-
tile pursuits; but constantly sought the company of painters, and at
that age became the pupil of Aldert van Everdingen. He went con-
stantly amongst the shipping, and made sketches in Indian ink and
bistre, which were purchased by collectors, at large prices. He at
length began to paint with good success, and became, in time, the
most noted painter of rou^h seas. He often exposed himself and his
boatmen to great danger, by going out in storms, to study the waves
and clouds, when in their wildest state. In coloring he cannot com-
pare with Willem van der Velde, but the pictures of the latter rep-
resent mostly smooth waters. The pictures of Backhuysen were in
great demand, not only in his own country, but in others. Smith
enumerates one hundred and eighty-four of his works, and many of
them of considerable size. It is not possible to give a full list of
them and the places they are in, but the following are some of the
best. One in the Van der Hoop Coll. at Amsterdam, a coast scene,
sea and sky agitated with coloring or lighting, of great beauty. No.
5, Amsterdam Mus., dated 1673, view of the River Y; clear and
brilliant. No. 6, same place, stormy scene. Louvre, No. 7, rough
sea at the mouth of the Maas; a fishing boat is trying to run in.
No. 5 of the Louvre gives ten men-of-war at the mouth of the Texel.
A view of the last river in the Bridge-water Gail.. No. 1 22, with seven
vessels, and dated 1670, is very fine. In the Mus. at the Hague, No.
6 is fine in the sunshine and shadow upon the water, but No. 7 is
heavy and hard. Many of his pictures are in England, in the Na-
tional Gall., colls, of Lord Ashburton, Mr. Baring, and others.
Peter the Great was a pupil of Backhuysen, who made for the Czar
numerous drawings for the construction of vessels.
Backhuysen, Ludolf, grandson of the preceding, born at Amster-
dam (1 717-1782). Good painter of horses and battles.
Baerse, Jacques de la. A sculptor of Dendermonde, who la-
bored ; n 1391. He did the carving of the remarkable shrines, de-
signed and painted by Melchior Broederlain, for the Cath. of Dijon,
which are now preserved in the Mus. of that city.
6 4 BAGLIONI BAILLIE.
Baglioni, Cesare, born at Bologna. A contemporary of the Ca-
raeci, he profited by their style, though not of their school. II was
an artist of considerable merit, and painted landscapes, history, ani-
mals, fruit, etc. His principal works are at Bologna and Parma, and
are much esteemed. In the ch. of the Madonna del' Soeeoi>o at Bo-
logna there is an " Ascension," and in the eh. of S. Gicrgio. an altar-
piece, representing " S. Anthony and S. Martha," by this master.
He was living in 1610.
Baglioni, Cavaliere Gio., born at Rome. A pupil of Francesco
Morelli. He was much employed during the time of Clement VIII.
and Paul V. In S. Niccolo in Carcere, there is a fine picture of his
of the " Last Supper." In S. Peter's there is a picture of 'that
saint raising Tabitha from the dead, for which he was made a
Knight of the Order of Christ, by Paul V. This artist was the
author of the " Lives of the Painters, Sculptors, and Architects who
flourished at Rome from 1572 to 1642."
Bagnacavallo, H. The real name of this artist was Bartolommco
Ramenghi. He was called II Bagnacavallo from his birthplace.
Born 1484; died at Bologna, 1542. lie studied under Francia at
Bologna, before he went to Rome, where he was a pupil in the school
of Raphael, and afterwards assisted that great master in some impor-
tant works. Bagnacavallo worshipped Raphael, and felt that to imi-
itate him, was an aim worthy of his ambition. Upon his return to
Bologna he brought the Roman style of painting to that city.
The works of this artist are not common in galleries. It is said
that his pictures were admired by the Caracci. He distinguished
himself at Bologna by a " Crucifixion " which he painted for the ch.
of S. Pietro. It is dated 1522. In the Dresden Gall, there is a
' Madonna and Child" in a glory, with four male saints, which is,
by some, considered his masterpiece. It is " a picture of great and
energetic expression." A " Holy Family : ' with saints, in the (Jail.
at Bologna is pleasing, but not powerful. In S. Maria della Pace at
Rome, there are frescoes of a Saint and a Prophet in armor, colossal
in size. There are also works of his in the Berlin Mns.. the Colonna
Pal., and in the Solly Coll. There are others in different churches
of Bologna.
Bagnacavallo, Gio. Batista. Son of Bartolommeo Rameiiiihi.
lie went to France as an assistant to Primaticcio, when he undertook
his work at Fontainebleau. When he returned to Bologna, he was
made chief of the Acad. of that city.
Baillie, Captain William. An amateur engraver.
Born in Ireland about 1736. His early life was passed in
the army, from which he retired with the rank of captain
of cavalry. He devoted the remainder of his life to art.
He was one of the most intelligent connoisseurs of his time. We
have about a hundred plates of his, engraved in different manners.
BAILLIE BALDOVINETTI. Go
His copies after Rembrandt, and his plates after the style of that
master, are his choicest works. The following are a few of his
plates .
Christ Healing the Sick, called the Hundred Guilder Print. Orig-
inal plate by Rembrandt, and admirably retouched by Baillie.
Beggars at the Door of a House ; after Rembrandt** print.
The Gold- weigher; finely copied from Rembrandt's print.
Three Trees ; landscape ; after same.
Old Man, half-length, with a Cap and Beard; 1765; after Rem-
bnnxlt.
Landscape, with a Horse; after Rembrandt's print.
The Pen-cutter; afler Ger. Douiv.
Interior of an Ale-house, with figures regaling; after Teniers ,
fine.
Another Interior with Peasants Smoking and Drinking ; after A.
Osta.de. 1765.
Bailii, David, born at Leyden (1584-1638). Painter of portraits
and perspective church interiors. The latter works of his are much
admired.
Baillu or Bailliu, born at Antwerp, 1614. An engraver, whose
principal plates are after Rubens and Vandyck. Although not the
best, his prints are well esteemed.
Baillu or Bailliu or Baleau, Bernhard, born in the Netherlands
about 1625. An engraver of portraits and a few historical subjects.
He executed entirely with the graver.
Bajardo, Gio. Batista, born at Genoa (1620-1657). A painter of
history whose pictures are esteemed in Genoa. The best are in the
portico of S. Pietro and the cloister of S. Agostino.
Bakker, Jacob, born at Harlingen (1608-1641). Lived chiefly
at Amsterdam, and painted history and portraits with great rapidity.
Ills works arc praised by the poet Vondel. Many of them are in
Spain. An altar-piece in a chapel of the Antwerp Cath. represent-
ing the " Last Judgment " is by Bakker, and is a fine picture.
Another of his works is a large archery piece, No. 34, in the new
Hotel de Ville at Amsterdam.
Bakker, Adrian, born at Amsterdam (1G43-1686). Nephew of
Jacob. Studied at Rome. Excelled most of his countrymen in cor-
rectness of design. His chef-d'oeuvre is a picture of the " Judgment
of Solomon," in the Hotel de Ville at Amsterdam.
Baldi, Lazzaro, born at Pistoja (1623-1703). A scholar of Pietro
da Cortona, in Rome. He became an eminent painter of his time.
In the Pontifical Pal. at Monte Cavallo, there is an esteemed work of
his representing "David and Goliath." The "Martyrdom of S.
Lazzaro " is in the ch. of S. Luke.
Baldovinetti, Alessio, born at Florence (1422-1499). He is
believed to have been a pupil of Paolo Uccelli. His works are few,
5
66 BALDOVINETTI BALDUNG.
and are distinguished for minuteness in detail. lie is said to have
painted straws so that their stems and joints could be- seen. He ex-
ecuted portraits and historical subjects, both in oils and fresco. His
remaining works are much injured by scaling or the abrasion of tin-
colors. Those best known are a fresco in the cloister of the Annun-
ziata at Florence; No. 24, Uffizi Gall.; and a "Trinity" with Saints.
painted for a chapel in S. Trinita at Florence. He wa> interested
in mosaic work, and studied much to learn the best manner in which
it could be done. In 1481 he repaired the mosaic over the portal
at S. Miniato al Monte. He was a chemist, as well as an artist. He
claims to have been the teacher of Ghirlandaio. He was buried in
S. Lorenzo at Florence.
Baldrighi, Giuseppe, born at Pavia (1722-1802). A pupil of
Vincenzio Meucci. He was invited to the court of Parma, and ap-
pointed painter to the Duke. He painted portraits of the ducal
family, which were much admired. One of his finest pictures is in
the saloon of the Acad. of Parma, and represents " Prometheus."
Balducci, Oio., called Cosci, died 1600. Said to have been a
native of Florence and a pupil of Batista Naldini. He was employed
at Rome by Leo XI., when Card. I)--' Medici. His works may In-
seen at Rome, at Florence, and at Naples, which he visited towards
the close of his life.
Baldung, Hans, called Griin. Born at Gemund, 1470; died at
Strasbourg, 1552. A contemporary, and perhaps a pupil of Albert
Diirer, but inferior to him in beauty of design and color. A number
of his pictures may he seen in the Cath. of Freiburg. An altar-piece
dated 1516 is considered his chef-d'oeuvre. One of his best portraits
is in the Vienna Gall. No. 14s, Munich Gull. Cabinets, is a por-
trait of the Margrave of Baden. Berlin Mus., Nos. t!<>3 and 623 are
his works. He was an engraver, and worked chiefly on wood.
Bartsch assigns to him two engravings on copper, and mentions fifty-
nine wood-cuts. His drawing was sometimes incorrect; but the
expression of the heads was good. The following are some of his
prints :
Adam and Eve plucking the apple.
The Fall of Adam ; inscribed on a tablet, "Lapsus humanis gen-
eris. 1511.
Christ and the Apostles. 1514. Thirteen plates.
The Crucifixion, with S. John, the Virgin, and Mary Magdalene;
in chiaro-scuro; fine.
Two landscapes; very scarce.
Four small upright prints : Solomon's Idolatry, Samson and Deli-
lah, David and Bathsheba, and Aristotle and Phryne; very fine.
An Incantation ; in chiaro-scuro. 1510.
The Holy Family, with SS. Elizabeth and Catherine ; half-length.
1512.
BALDUNG BAXDIXELLI. 67
Two prints of Horses in a Forest; marked " BALDUXG. 1534."
A Man with a Horse ; large upright ; no date.
Balechou, Jean Jacques, born at Aries, 1715 ; died at Avignon,
17G4. Very celebrated engraver. He excelled all French engravers
who preceded him in the clearness of his strokes and brilliancy of
color. In neatness of execution he has rarely been surpassed. There
is, however, a deficiency in his drawing, especially in portraits, which
detracts from the effect of his works. His three plates after Yernet,
representing the " Storm," the " Calm," and the " Bathers," are
among his finest plates.
Balen, Heiurich van, born at Antwerp (1560-1632). Pupil of
Adam van Oort. He went to Italy, and returned to Antwerp, where
the demand for his pictures was greater than he could supply. In
purity of color he excelled the older Flemish artists, but was cold in
feeling, and mannered in design. The backgrounds of his pictures
were often painted by Jan Breughel, and sometimes by Kierings.
These works were found in the best collections. His nude figures
were the most pleasing, and exquisite in finish. In the Antwerp
Cath. are two altar-pieces, and in the ch. of S. Jacques an " Ascen-
sion " by Balen. He was the first instructor of Yandyck.
Balestra, Antonio, born at Yerona (1666-1740). Pupil of Carlo
Maratti at Rome, where he was employed to paint in several churches
and palaces. He gained the prize at the Acad. of S. Luke in 1694.
He was not a great master, but his works are held in good estima-
tion. One of his finest pictures is in the ch. of S. Ignatius at Bo-
logna. He was also an engraver, and his plates from his own designs
are etched in a free and masterly manner.
Baltz, J. Georges, born at Strasbourg, 1 760. Painted miniature
portraits and landscapes on porcelain, many of which are seen in the
cabinets of Europe.
Bambini, Giacomo, born at Ferrara ; died 1622. Pupil of Do-
menico Mona. There are many of his works in the churches and
public edifices of Ferrara.
Bambini, Niccolo, born at Yenice (1651-1736). Pupil of Giulio
Mazzoni and Carlo Maratti. He imitated Liberi, and like him was
distinguished for his beautiful women. He was a reformer in Vene-
tian art. Many of his works are in the churches of Yenice. Bam-
bini was the master of Zanetti.
Bamboccio. See Peter de Laer.
Banck, Peter van der, of Flemish extraction, but born at Paris
(1649-1697). Pupil of Francis de Poilly, and an eminent engraver.
In 1674 he went to England with Henry Gascar. He painted por-
traits of many eminent persons of his time, which are much esteemed
for their historical value, as well as for their merit as engravings.
Bandinelli, Baccio, born at Florence (1487-1559). Sculptor
and painter. Scholar of Rustici, and friend of Leonardo da Vinci.
68 BANDINELLI BARBARIS.
His designs were powerful, and his treatment bold, but he had much
mannerism. He hated Michael Angelo, whom he never could equal.
He was envious, fals, and calumnious, full of silly vanity, his only
virtue being that of industry. But all that has passed away, and his
works remain to claim for him his due distinction. The best of these
are a bas-relief on the screen of the choir (or the high altar) of the
Florence Cath., which represents the Prophets, the Apostles, the
Virtues, etc. ; a bas-relief on a pedestal in the Piazza of S. Lorenzo,
at Florence ; and a group representing " Xicodemus supporting
Christ," which he intended for his own monument. This last is in
the ch. of the Annunziata, at Florence, and the Nicodeonu is a
portrait of Bandinelli himself.
Banks, Thomas, born at Lambeth (1738-1805). He served his
apprenticeship to a wood carver. He obtained several premiums
from the Society for the Encouragement of the Arts, for models in
sculpture. He then entered himself a student of the Royal Aead..
and obtained their gold medal. This entitled him to study in Home
three years. He applied himself closely to the study of the antique,
and there executed two of his best works in marble : " Cupid catch-
ing a Butterfly," purchased by Catherine II. of Russia ; and " Ca-
ractacus brought Prisoner to Rome." He returned to England, and
attempted to indulge his fancy in works of a lofty and heroic style,
but he was compelled to adopt the more lucrative employment of
monumental sculpture. He was invited to Russia by the Kni]>iv>s, and
remained two years. Monuments executed by him are in several
churches in England; and in the Hall of the British Institution is the
model of " Achilles mourning the Loss of Briseis," never executed in
marble. His life was one of disappointment. His poetic groups were
received with coldness, and he lacked that encouragement which
stimulates to the highest attainment.
Baptists. See Monnoyer.
Barabbino, Simone, born near Genoa about 1585. Pupil of Ber-
nardo Castello, who became jealous of his talent, and expelled him
from his Acad. He then painted a picture for the Annunziata del
Guastato, representing S. Diego, which has been much praised.
He removed to Milan, where he received the honor due to his ability.
One of his finest works is a "Madonna," with the dead Christ, and
Saints, in the ch. of S. Girolamo. Lanzi says he became a mer-
chant, and died in jail.
Barbalunga. See Ricci.
Barbarelli. See Giorgione.
Barbaris, Jacopo de (1504). Little can be told of this painter;
indeed, it is doubtful by what name he should be called, for lie is
thought to be identical with Jacomo Barberino Vencziano, and with
Jacob Walch, an artist alluded to by Diirer in his correspondence.
His signature and emblem (a wand of Mercury), are on a panel in
BARBATUS BARBIANL 69
the Gall, of Augsburg, dated 1504, and on a head of Christ in the
Mus. of Weimar. There are also pictures of his in Paris, Ratisbon,
and in Dresden Mus. If he be the same as Jacomo Barberino Vene-
ziano, he went, according to the Anonimo, to Burgundy and Ger-
many, and adopted the style cf those countries. He was in the ser-
vice of John of Burgundy, Bishop of Utrecht, at the same time with
Alabuse, and excelled in painting and engraving.
fBarbary, Jacob da. An engraver,
and the true " Master of the Caduceus,"
j l-i who has been called until recently Franci?
*~* de Baby lone. The reason of the name is
found in the fact that he marked his
plates with a caducous. One of his plates mentioned by Brulliot is
dated 1504. His nationality is a matter of doubt. Different authors
enumerate, altogether, twenty-nine plates by this artist, They are
highly esteemed for their rarity. The following are among those
known to be his :
Apollo and Diana ; small upright plate.
A Holy Family, with the Virgin resting on the stump of a tree,
and S. Joseph leaning his head on his hand ; square plate ; half-
length figures.
A Holy Family with S. Elizabeth, and an Angel playing a musical
instrument.
The Offering of the Wise Men ; small upright plate.
S. Jerome writing, with a Crucifix before him.
Two small upright plates ; in one a woman carries a child in her
arms, and in the. other a man carries a boat.
A Sacrifice to Priapus ; a free subject; after Marc Antonio.
Barbatelli, Bernardino, better known as Poccetti, and also
called Bernardino (Idle facceati, or delle grotesche. Born at Florence
(1548-1612). Pupil of Miehele di Ridolfo del Ghirlandaio. At first
he painted only grotesques and the fronts of buildings, and was little
known, but later he went to Rome, where he studied the works of
Raphael, and also made a reputation as an architect. Few of his
pictures on wood or canvas remain, but many of his frescoes are still
in Florence, and compare well with those of many Italian masters.
Mengs always studied him when in Florence, and Pietro da Cortona
admired his works. He sometimes painted hastily, and again would
prepare his drawings with the greatest care, but his pencil was
always firm, and his works displayed facility and freedom. He
adorned his historical pictures with fine landscapes, sea-views, fruits
and flowers, and his draperies were admirable.
Barbello, Gio. Giacomo, born at Cremona (1590-1656). Best
known by his pictures in the churches of Bergamo.
Barbiani, Andrea, born at Ravenna (1680-1754). Believed to
have studied under P. Cesare Pronti, whose style he imitated in his-
70 BARBIANI BAROCCIO.
torical paintings. The churches and public buildings of Ravenna
and Rimini are adorned with his works, one of the best being in the
vault of the Cath. of Ravenna, and representing the " Four Evange-
lists. " He was an artist of considerable merit.
Barbiani, Gio. Batista, born at Ravenna. Flourished about
1635. Probably studied under Bartolommeo Cesi. His best fresco
is the " Assumption of the Virgin," in the dome of the chapel of N.
Signora del Sudore, in the Cathedral. Some of his best pictures
were at Bologna.
Barbier-Walbonne, Jacques Luc, born at Nisines, 17G9. Pupil
of David. He painted historical pictures, and portraits of the dis-
tinguished generals of France.
Barbiere, Domenico del, born at Florence about 1506. A pupil
of II Rosso, whom he accompanied to France, when he came by in-
vitation of Francis I. to ornament the palaces of Fontainebleau and
Meudon. After the death of Primaticcio, Barbiere executed some
frescoes after the designs of that master. He was also an engraver,
but his works possess little merit. They are valued, however, on
account of their scarcity, and arc found in curious collections.
Barbieri, Gio. Francesco. See Guercino.
Barbieri, Paolo Antonio, brother of Gio. Francesco, called Guer-
cino, born at Cento (1596-1640). A painter of still-life. lie es-
pecially excelled in pictures of fish.
Barda, Don Vicente Calderon do la, born at Guadalaxara
(1762-1794). Pupil of Don Francisco Goya. Painted history and
portraits, and excelled in the latter. His finest historical work is in
a college at Avila, and represents the " Birth of S. Xorbert."
Bardin, Jean, born at Montbar (1732-1809). Pupil of the elder
Lagrenee. Studied also at Rome. He was a popular artist in France
and was admitted to the Acad. in 1795. His subjects were religious,
poetical, and historical. David and Regnault were instructed in the
elements of painting by Bardin.
Barker, Robert (1739-1806). Inventor of panoramic painting.
His first picture of this kind was a view of Edinburgh, which was
exhibited in that city in 1788, and in London a year later. At first
this kind of exhibition attracted but little attention, but soon its use-
fulness was appreciated, and it became popular.
Barnuevo, Don Sebastian de Herrera, born at Madrid (1G11-
1671). Architect, sculptor, and painter. Studied first with his
father who was a sculptor, then became a pupil in painting under
Alonso Cano. He gained reputation in the three branches of art to
which he gave his attention. Many of his works are in Madrid.
The " Nativity," in the eh. of S. Geronimo, and the " Beatification
of S. Augustine," in the great chapel of the Augustine Recollets,
were his principal pictures.
Baroccio, Federigo, born at Urbino (1528-1G12). Studied de-
BAROCCIO. 71
sign with his father, who was an engraver. Became the pupil of
Battista Franco of Venice. Went to Pesaro, where he saw the art-
treasures of the Dukes of Urbino, and when twenty years old, to
Rome. He was hindered by his modesty, but Michael Angelo
chanced to see some of his drawings, which he praised, and Gio. da
Udine became his friend. He also became known to Card. Giulio
della Rovere, who gave him his patronage. He returned, after four
years, to Urbino, and executed some church paintings whkh gained
him great reputation, and when, in 1560, he returned to Rome, Pius
IV. employed him in the Vatican, with Federigo Zucchero. Here he
was poisoned by some rival, and although the potion was not fatal,
it induced a stomachic disorder, which prevented him from working
more than two hours a day during the fifty-two remaining years of
his life, which year?, with the exception of three at Perugia, and a
visit to Florence, were passed at Urbino. Some of his best works
were, the " Pardon of S. Francis of Assisi," for the Franciscans
of Urbino, on which he spent six years; a " Deposition from the
Cross," for tin Cath. of Perugia, three years, now in the Vatican;
the "Calling of S. Andrew;" the ''Annunciation," now in the
Vatican; " Santa Michclina," the " Presentation of the Madonna,"
and the "Visitation," in the Clik-sa Nuova, at Rome; the "Insti-
tution of the Sacrament," according to the Romish rite, in the ch.
of the Minerva, at Rome; the " Cenacolo," and a " S. Sebastian,"
in the Cath. of Urbino; a portrait of Duke Francesco Maria, in rich
armor, in the Tribune at Florence; and a " Madonna del Gatto,"
in the National Gall. This is by no means a list of his pictures, for
the amount of work which he accomplished was wonderful, when we
consider his sufferings!. Baroccio lived when the art of Italy was
declining, and although he avoided, very considerably, the prevalent
mannerism in form, his coloring was imperfect. He admired Michael
Angelo, but he imitated Correggio in color. Mengs finds his pictures
wanting in yellow; Reynolds criticises his flesh colors; and Bellori,
his biographer, thought he used vermilion and ultramarine too freely.
His design was correct. Bellori says he always made two cartoons,
and two colored sketches; made all his drawings from life, and
dressed models in the required costumes. In spite of his faults he
acquired a great name in his day, and merits the reputation of intro-
ducing harmonious application of light and shade into Lower Italy
in which management of light, added to variety and novelty of
conception, his merit consists. Excepting his health, his life was
fortunate. For he was in good circumstances, happy in his temper,
had many pupils, and more orders than he could execute. Duke
Francesco Maria often visited him in his house in Urbino, and on the
1st of October, 1612, made this entry in his uiary : " Federigo Ba-
roccio of Urbino died, aged 77; an excellent painter, whose eye and
hand served him as well as in his youth," He was, in truth, eighty-
72 BAROCCIO BARRET.
four years old, and painted without spectacles, but not as well ;.s
earlier in life. He was buried in S. Francesco, where, in the corridor.
the tablet to his memory remains. At his funeral a standard painted
by himself, representing the Crucifixion, was placed at the foot of
his bier. Baroccio was also an engraver, and left several plates, cor-
rect in design and good in expression, though not especially delicate
in their execution.
Baron, Bernard, born at Paris, 1700; died in London, 171! -2. An
eminent engraver, and a pupil of Nicholas Henry Tardieu. lie en-
graved several plates for the Crozat Coll. He resided in England
some years before his death. His works have considerable, merit,
although coarse in their execution.
Baron, John, or Barouius, called Tolosano, born at Toulouse
1631. Passed most of his life at Rome. An engraver of portraits
and historical subjects.
Barozzo, Jacopo, called Vignola, from his birthplace, in the ter-
ritory of Modena (1507-1575). An illustrious architect. He com-
menced to study painting in the school of Passarotti at I5ol<>_ r na, but
became so enamored of the study of perspective, that by that means
(as he himself said) he was led to devote himself to architecture.
He became a law-giver in that art in Italy. He was employed in
Rome by a society of nobles and gentlemen to make accurate meas-
urements of the greater part of the Roman antiquities. These meas-
ures or moulds were sent to France to be cast in bronze. Vignola
then accompanied Primaticcio to France, where he was employed in
architectural works as well as in the casting of the above named
statues. In 1550 Julius HI. was made Pope, and Vignola. bv the
recommendation of friends, was appointed architect to His Holiness.
Soon he became known to Card. Farnese, who employed him to de-
sign his magnificent Pal. of Caprarola, and would have even thinir
about it done according to his decision. In this palace some pictures
by Vignola were seen. After the death of Michael Angelo Pius V.
employed Vignola to superintend the work at S. Peter's. Tins ma>-
ter also published valuable works on architecture, in one of which he
gave definite rules for the increase or decrease of every part in all
the five orders of architecture. This was illustrated by i-n^ravinirs
and proved a very useful book. Milizia called it "L'Abbieci dell'
Architettura."
Barret, George, born at Dublin, 1728; died at Paddington. 1784.
First studied in the drawing Acad. of his native city under Mr. West.
The Earl of Powerscourt became his patron, and lie painted many
views around Powerscourt Park. In the Dublin Society he took tin-
premium for the finest landscape. In 1 762 he went to England, and
there took prizes also. He greatly assisted in the establi>bineiit of
the Royal Acad. He was a good painter of English landscape. His
works are in the possession of the nobility, the prim ipal ones belong-
BARRET BARTHOLOMEW. 73
ing to the Dukes of Portland and Buccleugh. He also left several
spirited etchings.
Barry, James, born at Cork (1741-1806). Son of a coasting
trader. Commenced to paint as a boy. His picture of " S. Patrick
baptizing the King of Ca>hel," obtained for him the notice of Burke,
who gave him the means to go to London, and later, defrayed his
expenses in Rome. He returned to London in 1771. In the great
room of the Society of Arts, at the Adelphi, he painted six large pic-
tures, illustrating the i4 Civilization and Regeneration of Man." In
17<s-J he was made Professor of Painting to the Royal Acad. In 1799
he was expelled the Acad. on account of a letter which he had pub-
lished, and other disagreements with his academicians. He died
poor and alone. He was laid in state in the Adelphi, in the midst
of his works, and was buried in S. Paul's Cath. His other pictures
were an " Adam and Eve; " " Venus Anadyomene; " " Pandora; "
and " King Lear." His works arc not great, and his unlovely char-
acter prevented his being treated with charity, although by many he
is regarded as a martyr to his appreciation and love of high art.
Grandeur seemed to mean vastness in his mind. The " Harvest
Home," at the Adelphi, is the best of the six in composition and
finish. He overesteemed his own pictures, and could see no beauty
in those of other artists.
Bartholomew, Edward Sheffield, born at Colchester, Conn.,
1822. After trying various employments he abandoned ail in disgust,
spent his time in drawing, and studying any pictures which were
within his reach. After a time, he read the life of Cellini. This,
to use his own words, " put the devil into him.'' He abandoned all
employment, and his friends regarded him as good for nothing, prac-
tically. By some means he studied a year at the life school of the
Acad. in New York, and did some drawings which revealed his
talents to a few friends. He was the intimate friend of Church. He
obtained the appointment of Curator of the Wadsworth Gall, at
Hartford. He made careful copies and studies, but when he
attempted to paint in oil found that he was color-blind. He then
determined to attempt sculpture. His " Flora " was his first work,
and from its execution may be dated his artistic career. By his own
exertions and the aid of friends he obtained the means to visit Italy.
When in New York he was attacked with small-pox, which left him
lame for life, with a weakened constitution. When, at length, he
sailed, it was in an ill provided vessel, and he suffered much on the
voyage. He requested to be landed on the coast of France, and
made his way thence to Rome. So great was his energy that, in
spite of all his hindrances, within three days after his arrival he
was engaged in modelling the " Blind Homer led by his Daughter."
From that time his life was prosperous. His chef-d'oeuvre, the " Re-
pentant Eve," belongs to Joseph Harrison of Philadelphia. His
74 BARTHOLOMEW BARTOLO.
" Shepherd Boy " to E. Pratt of the same city. In Hartford there
is a large collection of figures, busts, and bas-reliefs by this artist.
He also executed several monumental works, and visited America
to superintend the erection of a monument to Charles Carrol.
His home was always in Rome. On a second visit to America h;>
renewed his friendship with Church, and the citizens of Hartford
complimented him by a public dinner. He returned to Italy with
fresh zeal and aspirations, but it was only to die. In a tew months,
on account of his health, he went from Rome to Naples, where he
lived but a short time.
Bartoli, Pietro Sante, sometimes called II Perugino, born at Pe-
rugia, lG3o. He first practised painting, but gave it up for engrav-
ing, in which he became eminent. He left a great variety and num-
ber of plates, which are chielly etched in a free and masterly manner.
He sometimes marked his plates with his initials, and added an F. for
fecit : thus, P. B. F., but more frequently he used the following :
Pelt: Ss. Bart. sc. Romce.
Bartolin of Piacenza. Little is known of this ol>l painter. In
the Baptistery of Parma, and in the ch. of S. Antonio at Piacen/a
there are several pictures attributed to him. They are believed to
belong to the close of the 14th, and rise of the 15th century, and are,
very rude.
Bartolini, Gioseffo Maria, born at Imola, 1G57. Pupil of Lorenzo
Pasinelli. at Bologna. His pictures were historical, and sonic which
still remain in the public edifices at Imola are much estecmc.i
cially one in the ch. of S. Domenico, representing a miracle by S.
Biagio. This artist was living in 17 IS.
Bartolini, Lorenzo, born in Florence (1777-1850). He studied
first in Paris : visited Koine, and settled in Florence. lie left, many
works some of considerable merit, but others bear the impv
French affectation. lie executed many statues and monuments, and
was considered a leading master of his time. At the Kstcrhazy -Mus.
in Vienna are three (Jenii '' by this master, remarkable for their
elegance and truthfulness.
Bartolo, Taddeo di. A Sienese painter of the early part of the
15th century. His earliest pictures are at Perugia. There is an
altar-piece dated 1403. It represents the ' Virgin and Child,'' with
two angels and S. Bernard. This is now in the Acad.. where there
are two other works of this master. In the ch. of S. Agostino. Pe-
rugia, a " Descent of the Holy (ihost," by Taddeo, is admirable.
The Acad. of Siena has an " Annunciation," and the L< uvre at
Paris several pictures not important in considering Taddeo. but thost-
of the " Life of the Virgin," on the walls of the chapel of the
Palazzo della Signoria at Siena, are worthy of note. They were
done in 1407, and are peculiarly improsive from their refinement and
true feeling. In 1414 he painted a hall joining the chapel which is
much inferior, and represents ancient orators, poets, and statesmen.
BARTOLO BASAITI. 75
Bartolo, Domenico di. Flourished 1440. The brother or nephew
of Taddeo, but much inferior to him. An " Assumption " in the
Berlin Mus. is somewhat effective in arrangement, but coarse in the
manner of execution. In 1440 he represented the " Works of
Mercy " in the Hospital della Scala at Siena, but they are pictures
of no merit.
Bartolommeo, Fra. See Porta, Baccio della.
Bartolozzi, Francesco, born at Florence (1730-1813). This
eminent designer and engraver studied drawing under Hugfort Fer-
retti at Florence, and engraving with Joseph Wagner at Venice. He
went to England in 1 764 and became eminently distinguished. He
practised every kind of engraving. The number of his plates is
enormous and .their finish exquisite. His etchings are remarkable for
the truthfulness with which he reproduced the spirit and expression
of the woi-ks he copied.
Bartsch, Adam, born at Vienna (1757-1820). Engraver and
author. He was principal keeper of the Imperial and Royal Gall, at
Vienna, and published " Le Peintre Graveur," which is the best
account of prints yet published. Besides this he published a " Cata-
logue of the Etchings of Rembrandt and his Pupils," which like the
former book is wonderful for its accuracy. For the first he made fac-
similes of rare etchings, in which the spirit of the originals is per-
fectly reproduced. In 1818, his son Frederic published a "Cata-
logue llaisonne " of the works of the father, which numbered 505.
Bas, Jacques Philippe Le, born at Paris (1708-1782). Cele-
brated engraver. Studied with N. Tardieu. The number of plates
which he left is very large. He had many pupils, was an ingenious
artist, and Bryan says, il availed himself much of the freedom and
facility of etching, which he harmonized in an admirable manner
with the graver and dry point." He made more than one hundred
prints after Teniers, and copied that master most successfully.
Basaiti, Marco. It is not known whether this artist was born at
Friuli or Venice. He was of Greek parentage. Flourished from
1470 to 1520. He is believed to have been the assistant of Luigi
Vivarini, and Gio. Bellini. He acquired much of the manner of
both these masters, and imitated besides, at different periods, Palma,
Lotto, and Carpaccio. He probably survived Raphael, but a wider
difference could scarcely be imagined than exists between the pic-
tures of the two. Basaiti' s colors are brilliant, and his pictures fin-
ished with the greatest care, even in the most minute details, which
results in a dry realism. His figures have character, and a peculiar
dignity, but his draperies are stiff and his heads have a tiresome
sameness. His works are almost numberless, and there are few col-
lections without them. The following are some of the more impor-
tant : National Gall., S. Jerome reading, and the Virgin seated in
a meadow with the Child asleep on her lap; Munich Gall., " DC-
76 BASAITI BASSANO.
position from the Cross; " Venetian Acad.. Christ with the Disci-
ples in the Garden," and the " Calling of SS. Peter and Andrew."
1511 ; Vienna, Belvedere Gall., " Calling of James and John," with
fine landscape, signed, 1515, Marcus Baxaitj, F.
Basili, Pier Angiolo, born at Gubbio (1550-1604). Studied first
under Felice Damiani, and then with Christofano Roncalli. His
style resembled that of the latter master, but was more delicate. In
the ch. of S. Mazziale is a picture of " Christ Preaching,." with a
great number of figures. His frescoes in the cloister ot' S. Ubaldo
are much esteemed.
Bassauo, Francisco da Ponte, born at Vicenza, 1475 ; died at
Bassano, 1530. This was the founder of the family of Bassauo. six
of whom were painters. Francisco, the elder, probably studied under
Gio. Bellini, and imitated that master in his youth, but later in life
he worked with more freedom and spirit. Ills ' S. Bartholomew "
in the Cath. of Bassano, shows his early manner ; and the i; Descent
of the Holy Spirit," at the village of Oliero, is grand iu composition,
good in color and expression, and displays his later excellence.
Bassano, Jacopo da Ponte, born at Bassano (1510-1592). Son
of the preceding. He studied with his father, and afterwards with
Bonifazio Veneziano. But he gained much of his knowledge from
studying the works of Titian, and copying the designs of rarmigiano.
He excelled in painting landscape and animals, and introduced the
latter into almost every picture, sometimes with marked impropriety.
He was, perhaps, the earliest Italian r/i arc painter. His coloring
was good, and also his use of light and shade. He distinguished
himself as a portrait painter, and painted many eminent persons,
among them the Doge of Venice, Ariosto, and Tasso. He had four
sons, who all painted with him, and many other scholars, so the
amount of work completed in his atelier was very large. His latest
pictures are by far the best. lie had the habit of concealing tin-
hands and feet, which injured his pictures very much. His works
are to be seen almost everywhere. " The Entombing of Christ," in
the ch. of S. Maria in Vanzo, at Padua : " A Family Concert." in
the Uffizi ; portrait of an old man, Berlin Mus.: portrait of a richly
dressed woman, in Studj Gall., at Naples ; "The Mourning Maries."
at Chiswick. and a %k Nativity," at the Louvre, are some of his larger
works. His cabinet pictures are very numerous.
Bassano, Francisco da Ponte, the younger, son of the preceding,
born at IJassano (1548-1591). Trained in the. school of his father.
lie established himself in Venice. Was employed to paint a series
of pictures representing the hi-tory of the Republic, on the walls of
the public palace, and one of his best works is on a ceiling there.
He also painted for the churches of Venice. lie became melancholy,
and this trouble was increased by his over application. He at last
jumped from a window, and killed himself.
BASSAXO BASSI. 77
Bassano, Gio. Batista da Ponte, born at Bassano (1553-1613).
Second son of Jacopo. Spent most of his time in copying the works
of his father, which he did with surprising skill.
Bassano, Leaiidro da Ponte, born at Bassano (1558-1623).
Third son of Jacopo. Excelled in portrait painting, to which he
confined himself during his later years. He painted, among other
distinguished men, the Doge Grimani, who made him a knight.
The " Raising of Lazarus," in the Louvre, and the " Birth of the
Virgin," in the ch. of S. Sophia, at Venice, are his best historical
works.
Bassano, Girolamo da Ponte, fourth son of Jacopo, born at
Bassano (1560-1622). He spent much of his life in copying the
pictures of his father, which he did so well that the copies passed at
the time, and since then, as the originals. In the ch. of S. Giovanni,
at Bassano, there is an original picture by Girolamo, of *'S. Barbara
kneeling before the Virgin."
Bassen, Bartholomew van. A Flemish artist who flourished
from 1610 to 1630. He painted interiors of churches, and other pub-
lic buildings. The figures in his pictures were done by other artists,
and he in turn painted the architectural portions of their works.
When called by his name they attract little notice, but are sometimes
attributed to the painter of the figures. He was exact in perspective,
and good in coloring. There are pictures of his in the Berlin Mus.
Basseporte, Frances Magdalene, died about 1780. She painted
subjects from natural history, in water colors. She did three hooks
of flowers, which were engraved by Avril. She also engraved some
plates for the Crozat Coll., and others, among which are,
The Martyrdom of S. Fidelio de Sigmaringa; after P. A. Robert.
Diana and Endymion ; after a design by Sebastiano Conca.
Bassetti, Marc Antonio, born at Verona (1588-1630). There
were but few pictures left by this master, for he believed that much
time should be given to each one. Those he finished were highly
prized. He was a scholar of Felice Riccio, called Brusasorci. He
also studied the works of the masters in Venice and Rome. After
his return to Verona he painted for the churches and public edifices
of the city, but was cut off suddenly by the plague.
Bassi, Antonio. The name of this painter occurs in the history
of art in Ferrara, and some of his works may still be seen in the
churches of that city.
Bassi, Francesco, the elder, born at Cremona (1642-1700).
From his landscape painting he was called " II Cremonese da Paesi."
Many of his works are in the private collections of Venice.
Bassi, Francesco, the younger, born at Bologna (1664-1693).
Scholar of Lorenzo Pasinelli. He left pictures of merit in the
churches of Bologna. One of " S. Antonio taken to Heaven by An-
gels," in the ch. of that saint, is much admired. He was distin-
guished for his copies after Guercino.
78 BAST BAUR.
Bast, Dominic de, born at Ghent, 1782. An amateur painter of
landscapes, cattle, and marine subjects, in the last of which he was
said to excel. His works are mostly in the private collections of
Ghent, but one was purchased in 1822 by the Commissioners for the
Encouragement of Fine Arts, in that city.
Bastaro, Giuseppe del, born at Rome. Flourished in the time of
Urban VIII. His pictures may be seen in several Roman churches.
In S. Maria Maggkm is his "Assumption of the Virgin,'' and in S.
Girolamo, a " Descent from the Cross," and The Death of S.
Jerome."
Bastaruolo, H. See Mazzuoli Filippo, or Giuseppe.
Batoni, or Battoni, Fompeo, born at Lucca, 1 7o-_> ; died at Rome,
1787. Pupil of Francesco Fernandi. He was a contemporary of
Raphael Men<_rs, who painted mostly in Spain. Batoni excelled
most in portrait painting. He bestowed much labor upon the hands,
and finished cravats, laces, etc., etc., with exquisite care. lie lived
after the decline of Italian art, and showed a doire for severer study
than was usual with artists of his time. Of his historical pictures,
the " Fall of Simon Mairus." in the eh. of S. Maria dccrli Angeli, at
Rome, deserves to be mentioned. In the eh. of S. Maria M;i'_"_ r iorc
there is an altar-piece representing the " Annunciation; " in the ch.
of S. Girolamo, a " Madonna," with saints and angels ; in the pa-
vilion at Monte Cavallo there are five pictures by this artist, one of
which represents " Christ giving Peter the Key>." and is sometimes
called his best work. Being the best artist of his day in Rome, he
was constantly employed, and his works were well esteemed all over
Europe. At Hampton Court there is a portrait of Gregory XIV. by
Batoni, and in the Dresden (Jail, a "Magdalene." and a " S. John
in the Wilderness." These last are good specimens of his works,
and display pure academic art, as if they were painted but to show
color and design.
Baudet, Stephen, born at Blois, 1G20; died at Paris, 1691. An
eminent engraver. After studying in Paris he went to Rome. He
used only the graver, at this time, and seems to have imitated Corne-
lius Bloemart. Upon his return to Paris he ureatly improved his
style by using the point also. He was a member of the Royal Acad.
His choice of pictures from which to make plates was excellent, and
were those of some of the best painters of Italy.
Bauduins, Anthony Francis, born at Dixmude, in Flanders,
1640 ; died at Paris, 1:00. He first studied painting under F. A.
Vandermeulen, but afterwards became an engraver. Most of his
plates were from the designs of Vandermeuleii. and were etched in a
bold and effective style.
Baur, John William born at Strasbourg (1600-1640).
I \A/J Pupil of Frederick Brentel, whom he soon surpaed.
He went to Rome, where his views of the environs of the
city were much admired. In 10:i7 he went to Venice, and then to
BAUR BAZZI. 79
Vienna, where he was employed by Ferdinand III. His color was
superior to his design. lie acquired some celebrity as an engraver.
Baur, Nicholas, born at Harlingen (1767-1820). One of the best
modern Dutch painters of marine views. He also painted landscapes
and views of cities, and frequently represented winter and moonlight
scenes. Many of his works are in private houses in Holland, and the
King of Holland purchased two of his marine views for the Mus. at
the Hague.
Bausa, Gregorio, born at Mallorca, near Valencia (1596-1656).
Pupil of Francisco Ribalta. His pictures had considerable merit.
At Valencia, in the eh. of S. Philippe of the Carmelites, there is an
altar-piece representing the Martyrdom of the Saint, and in the
monastery of Los Trinitarios Calzados there are several works of his.
Bayeu y Subias, Don Francisco, born at Saragossa (1 734-1 795).
He first studied and gained the prize at the Acad. in his native
city. Then, a pension being granted him. he was able to go to
Madrid, where he studied with Antonio Gonzales Velasquez. He
painted for the churches, and was employed by Charles III. in the
Prado, and the palaces at Aranjuez, and Madrid. He became a
member of the Acad. in 1765, and three years later was made painter
to the king. Some pictures of the life of S. Bruno, at the Carthusians,
are among his best works.
Bayeu, Don Raymon, born at Saragossa (1746-1793). Brother
and assistant of the preceding.
Bazin, Nicholas, born at Troves, 1636. Pupil of Claude Mellan.
He executed plates of historical subjects and portraits in a stiff, dry
manner.
Bazzani, Giuseppe, born at Reggio (1701-1769). Pupil of Gio.
Canti, whom he surpassed. Many works of his are in the churches
and convents of Mantua and vicinity, and have considerable merit.
At the time of his death he was director of the Acad. at Mantua.
Bazziacaluve or Bezziacaluva, Ercole. An eminent engraver
of Pisa or Florence, who flourished about 1640.
Bazzi or Razzi, Giauantonio, called II Soddoma (1474-1549).
Born at Vercelli, he seems rather to belong to Siena, for he settled
there and became one of the best painters of the Sienese school.
His mode of life was free and easy. He was fond of animals, and
had a collection of them always about him. Queer birds, magpies,
monkeys, etc., were always in his house. A raven who imitated him
perfectly in voice, and manner of speech, was his especial pet. His
dress and whole appearance was such that he attracted all sorts of odd
people about him, and was not over fastidious about their character.
He was married to a young wife, who left him soon after the birth of
a daughter. When we consider his peculiarities it is a surprise that
he could have painted such women as he did, for they are often of a
remarkably pure and noble type. His conception of beauty was ex-
traordinary, and his expression of deep enthusiastic feeling not less
80 BAZZI BEATRICI.
so. His women resemble those of Leonardo, under whose influence,
he probably came in youth; he was also familiar with the Florentine
art, and studied the works of Raphael in Home. He became vain
and careless after attaining a good degree of fame, and painted only
from the force of whims, or need; and yet, in spite of his careless life,
and unequal temperament, his genius made him great. In lf)<i." lie
painted twenty-six frescoes in the convent of S. Uliveto Maggiore,
near Siena, which are still well preserved. They represent scenes in
the life of S. Benedict, and are full of able characterization and indi-
vidualism. Soon after this, Pope Julius II. called him to Rome to
paint in the Vatican, where but little of his work remains. At the
Villa Farnesina there are two fine frescoes which he did for the
banker Chigi. They represent the " Marriage of Alexander and
Roxana," and " Alexander in the Tent of Darius." The lirst is es-
pecially beautiful; warm in color, exquisite in softness, the head of
Roxana compares well with some of Raphael's. After his return to
Siena he put new life into its art, and produced some of his best
pictures. Among them are the frescoes which he did in connection
with Beccafumi and Girolaino del Paechia in the Oratorium of S.
Bernardino; figures of saints in a chapel of S. Spirito; and pictures
of S. Caterina, both in the oratory of S. Caterina and in the
chapel of S. Caterina in S. Domenieo. There are also frescoes of
his in the Palazzo Pubblico. In the Uffizi there is a panel painting
of S. Sebastian which is one of the best works of this time. There
are also a few other fine panel pictures. There is a Resurrection "
in the Studj Gall., at Naples; a " Scourging of Christ " in the Acad.
of Siena, which has been transposed from the wall to canvas: the
11 Sacrifice of Abraham " in the Campo Santo at Pisa; a very beauti-
ful portrait of " Lucrezia " which belongs to M. Comthur v. Kestner;
and lastly, a " Dead Christ " in the Berlin Mus.. and a Madonna "
in the Borghese Pal., which are attributed to him. The " Kestasv
of S. Caterina" at S. Domenieo is especially fine: the saint is repre-
sented in a swoon, Liibke says, "with the deepest feeling and the
noblest expression of pain." Razzi is sometimes called the pride of
the Sienese school.
Beale, Mary, born in Suffolk (1632-1697). A good portrait
painter. Pupil of Sir Peter Lely. She studied the works of Van-
dyck, whom she resembled in color. Her pictures wen- much sought
by the distinguished persons of her time.
Beale, Charles. Husband of the preceding, and a painter, but of
no celebrity.
TVT-) ~\"D T Beatrici, Niccolo, born at Thionville about
1\J JXjJLj 1500> Karlv in life lu> W( ' nt to Koine-. nn(1 llis
plates show that he was there from 1 ").'! - J to 15G2.
He is supposed to have studied under Agostino Veiiexiauo, called De
Musis. The works of Beatrici are not equal to those of the master.
HEAD OF ROXANA, FROM THE FRESCO OF " ALEXANDER'S MARRIAGE," BY
IL SODDOMA. IN THE FAKNESINA, ROME.
6
BEATRICI BECCAFUMI. 83
His subjects, however, were excellent, and his plates have been
valued on that account. His prints are somewhat numerous.
Beaumont, Claudio, born at Turin (1694-1766). After studying
at Turin he went to Rome and spent some time in copying the works
of Raphael, the Caracci and Guido. He admired Trevisani and
imitated him in execution and color. Returning to Turin, he
became distinguished, was employed by the King of Sardinia, and
by him knighted. He decorated several apartments in the royal
palace. A fine " Descent from the Cross," by Beaumont, is in the
Chiesa della Croce. His pictures should be judged in comparison
with others of his own time. Many other eminent foreign artists
were employed by the court in competition with Beaumont. He re-
modelled the Turin Acad. and extended it to all branches of art,
under the name of the Royal Acad. , and from that time the cultiva-
tion of the fine arts increased. The name of Beaumont is deservedly
respected in his native city.
Beaumont, George Howland (1 753-1827). An English baronet,
an amateur painter and a pupil of Wilson. He painted landscapes
respectably. He liked richly glazed foregrounds, but light and silvery
skies. His wood scenes resemble those of Ruysdael. Beaumont
was a liberal patron of artists, and was much associated with them.
Beauvais, Nicholas Dauphin de, born at Paris about 1G87.
Pupil of John Audran. His engravings are held in good estimation.
Beauvarlet, James Firmin, born at Abbeville, 1733. Cele-
brated engraver. Pupil of Charles Dupuis and Lawrence Cars at
Paris. His earlier plates are bold and free, while the later ones are
finished with great neatness and delicacy.
Beccafumi, Domenico, called Meccherino, born at
i I { < Siena (1484-1549). He was a shepherd boy, and
\ J accustomed to sketch upon stones while watching his
flock. This attracted the attention of one Meccherino,
who obtained his father's consent that he should study under a
master in Siena. Capanna was his instructor. He copied the de-
signs of various masters, and, at first, adopted the manner of
Perugino. He afterwards went to Rome, and studied antiques, as
well as the works of Michael Angelo and Raphael. Returning to
Siena, he competed with Razzi, next to whom he was ranked by the
Sienese. His earlier works had more beauty and grace than those
of his later years. His color was cheerful and pleasing, and of such
a body that his pictures have endured the test of time better than
many others. He used to say that he could not paint out of Siena,
and his works are numerous there both in public and private collec-
tions. He painted better in distemper than in oils. His frescoes in
the oratory of S. Bernardino were fine. In the Acad. of Siena there
is a picture by him of " S. Catherine receiving the Stigmata," which
is one of his best easel pictures. He also did some works in sculpture
and engraving, and we have a number of prints by him. One of his
84 BECCAFUMI BEECHEY.
most interesting later works was the pavement of the Cath. of Siena
executed in mosaic. This has been engraved by Andrea Andreani.
One of his points of excellence was the power to suit his composi-
tions well to the style of the areliitecture by which they were sur-
rounded, and to ornament them with grotesque designs, so that they
required no gilt stucco, etc., etc. He loved the retleetions of fires.
and other lights, and was more learned in the principles of art than
most artists of his time. He also understood foreshortening, espe-
cially on ceilings. He sought strength and dignity in his figures, ami
even his small pictures appear larger than they are for this reason.
He was an upright man of solitary habits. Ilis memory was cher-
ished by tlie Sienesc, and honored by their poets.
Beccaruzzi, Francesco, born at Conigliano in the Frioiil.
Scholar of Pordenonc. He painted reputably both in oil and fresco.
Many of his pictures are in the churches and convents of Trevigi.
One of his best works was a " S. Francis receiving the Stigmata."
painted for the Franciscans of Conigliano.
Becerra, Gaspar, born at Bai/.a in Andalusia, 1520 ; died at
Madrid, 1570. One of the great fresco painters of Spain; also an
architect and sculptor. It is difficult to say whether he was most
celebrated for his pictures or his figures. lie was a close student of
anatomy and made plates for a work on that subject, and also de-
signed anatomical figures for the use of artists lie studied in Home.
and returning to Spain, was made sculptor and painter in ordinary to
Philip II. Perhaps his most celebrated production was an image of
the Virgin made for Queen Isabel do la Pax. lie had already
made two which did not please the Queen, when, as he >at one night
over his work, befell asleep, and was awakened suddenly by a voice.
saying, " Awake, and ari-c. and out of that log of wood blaziui: on
the hearth, shape the thought within thee. and thou shall obtain the
desired ima'_re." He did so. and having quenched tly.' burning stick,
bewail at dawn to work. The statue grew rapidly, and became a
miraculous image, and, draped in widow's weeds, was placed 'in a
chapel devoted to her by the Minim Fathers at their convent in
Madrid, to whom she brought much gain. This ima'_ r e is known as
" Nuestra Senora de la Soledad." It disappeared during the war of
independence. The most important work of this master was the
high altar in the Cath. of Astoria, which was composed of many
lias-reliefs and figures. It cost :{o.noo ducats. 11,000 of which made
the share of Becerra. Many works of this master are in the public
edifices of Madrid. Astorga. and Zamora.
Beechey, Sir William, born at Kurford in Oxfordshire, 1772;
died at Hampstead, 1839. Portrait painter to the Queen, appointed
in 1793. lie was made a knight by (Jeorge III. for his picture, now
at Hampton Court, which represents the king reviewing troops. In
sixty-four years he .-xhihited 362 portraits at the exhibitions of the
Royal Acad.
BEECK BEGA. 85
Beeck, Jan, born at Looz ; died, 1516. A monk who became
abbot of the convent of S. Lawrence near Liege. He painted the
largest part of the pictures of his convent, and is considered next to
the brothers Van Eyck, among the old painters of Liege.
Beek, David, born at Arnheim (1621-1656). One of the ablest
pupils of Vandyck, whom he assisted until his death, painting an im-
portant part in some pictures, and the whole of others, after the
designs of the master. He went to England, where he was patron-
ized by Charles I. , and instructed the Prince of Wales and Duke of
York in drawing. After some years in England he went to Sweden,
and was appointed principal painter and chamberlain to Queen
Christina. In spite of his honors he longed for Holland, and, at
length obtained permission to go there under promise to return to
Sweden ; but his love for his home prevented his keeping this prom-
ise, and he died at the Hague.
Beeldemaker, John, born at the Hague, 1636. A painter of
hunting scenes. Many of his pictures are in England. lie handled
his subjects with much spirit.
Beeldemaker, Francis, born at the Hague (1669-1717). Son
of the preceding, with whom he first studied. He next painted with
William Doudyns, and at length went to Rome. After some years
spent in Italy he returned to Holland, and painted portraits and his-
torical pieces which were much admired. He was a member of the
Acad. at the Hague.
Beerstraaten, Alexander. This artist lived in the 17th century,
hut there is nothing known of his life. One of his pictures is in the
New York Metropolitan Mus. of Art, and represents " De Schreyer-
storen " at Amsterdam.
Bega, Cornelius, born at Haerlem (1620-1664). A pupil of
Adrian Ostade. He painted the same class of pictures as his mas-
ter, though in a different manner. He excelled Ostade in drawing,
but fell below him in feeling for color, and management of light.
No. 1 7, Amsterdam Mus., is one of his best works, and represents a
village fete, with music and drinking. No. 13, Louvre, representing
a peasant and wife at table, is cooler in color than the former, and
more in his usual manner. His pictures are found in the choicest
collections. He also left more than thirty etchings, executed with
much ingenuity and spirit, with a coarse, but firm, graver. His real
name is said to have been Begeyn, but in youth he so displeased his
father by his reckless mode of life, that he was disowned, and as-
sumed the name by which he is now known. At the time of his death
he was about to marry a young girl to whom he was devotedly
attached. She was seized with the plague which visited Holland in
1664. Every one abandoned her, fearing infection, but Bega would
not leave her, and gave her the most devoted attention to the last,
when, having taken the disease, he also died.
86 BEGARELLI BEII AM.
Begarelli, Antonio, called Antonio da Modena, iKirn at Modena
(1499-1565). A modeller in clay. A pupil of Gio. Abati. He was
associated with Correg'jjio in the decoration of the cupola at Farina,
and made many models from which that artist painted his floating
figures. These artists were the best of friends, and resembled each
other in their conceptions of the grand and beautiful. In l.V_>!i
Michael Angelo met Begarelli in Modena. and saw bis works. It is
said that he exclaimed, " Alas for the statues of the ancients, if this
clay were changed into marble! " Begarelli was an instructor in
design and modelling, and greatly influenced the painting of the
Lombard school. To him may be traced in a measure its excellence
in design, especially its art of foreshortening, and its relief and
grace, which often approaches that of Raphael. The works of Be-
garelli are in the Berlin Mus.
Eegas, Charles, born at Hcinsberg (1794-1854). While at the
University of Bonn he received eome instruction in painting. He
went to Paris and studied under Gros. He attracted the attention of
the King of Prussia in 1815, and received an allowance with which
to visit Italy. In 1825 he went to Berlin and became a professor in
the Acad. of Arts. He painted portraits of Sehelling, Humboldr,
etc.; and various religions subjects, among which are the "Descent
of the Holy Spirit ;*' the "Transfiguration ;" " Christ bearing his
Cross," etc.
Begyn, Abraham, Dutch painter, born in 1650. Painted land-
scapes and cattle in the style of Nicholas Berghem. His pictures
are justly admired. He painted in a light, free manner, and his
coloring is agreeable.
Beham, Bartel, born at Nuremberg, 1496 ;
~T~\ |^ iB died in Italy- 1 ">'<>. A painter, but more ci-le-
h \ \ * ULr or:ltl>( l as an engraver. Pupil of Albert Diirer.
lie gave so much promise of excellence that I hike
Wilhelm of Bavaria sent him to study in Italy. His early pictures
were much in the style of Diirer, realistic, broad and crude in color.
A " Christ bearing his Cross," in the chapel of S. Maurice, and
" Christ on the Mt. of Olives " in the Berlin (Jail, are of this time.
When in Italy he attempted to change his manner, but without much
success. No. 2, Munich Gall., representing "A Woman raised from the
l),"ul by the True Cross." is a remarkable picture. Xo. 98. same Gall.,
represents " Marcus Curtius leaping into the Gulf." and is injured by
too much antique architecture. In the (Jail, at SeUeiMheim, a number
of portraits show his excellence in that department of painting. He
studied engraving under Mare Antonio Kaimondi, and was one of the
most successful imitators of that artist. His drawing was that of a
master, and his heads are line in expression. Many of his plates have
no mark, and this has occasioned some dillieulty in designating them.
His signature was BB, and the prints that have it are dated from 1520
BE1IAM. 87
to 1533. His portraits of the Emperors Charles V. and Ferdinand I.
are well known for their masterly conception and execution. The
following are a part of his prints :
Portrait of William, Duke of Bavaria.
Bust of Erasmus Baldcrman. 1535.
Bust of Leonard Van Eck.
Adam, Eve, and Death before a Tree.
Judith sitting on the body of Holofernes. 1525.
The Virgin suckling the Child; very fine.
A Sibyl reading and a Boy holding a Torch. BB.
Susanna before the Elders; after Giulio Romano.
Lucretia.
Cleopatra. 1520.
The Judgment of Paris.
The following prints are marked with a B. on a die, thus;
and have sometimes been attributed to X. Beatrici, but are [Jj |
now called tho.se of Beham.
Apollo causing Marsyas to be flayed ; af'er Raphael.
Christ giving his charge to S. Peter; after the same.
A Naval Combat.
A Landscape, with animals about a tree, at the top of which a
Phoenix is burning her nest.
Four Friezes, with Boys playing and Festoons of Flowers; RAPH.
V R B. IN. Ant. Laferii fonnis.
The two following have the die without the letter B.
Apollo and the Python.
Apollo and Daphne.
Beham, Hans Sebald, born at Nurem-
berg, 1500; died at Frankfort, 1550. Nephew
I ** -"- of the preceding, from whom he received his
earliest instruction. He afterwards studied with Albert Dlirer.
His bad habits compelled him to leave Nuremberg in 1540, when he
settled in Frankfort. He often painted humorous subjects, and
sometimes those that were vulgar and indecorous. He was a good
draughtsman, had singular powers of invention, and was not wanting
in feeling for beauty and grace. His only oil picture now known is
in the Louvre. It represents scenes from the life of David, and was
executed for Albrecht, Archbishop of Mayence, in the form of a
table, in 1534. He also executed five miniatures in a prayer-book
for the same ecclesiastic. These are in the royal library at Aschaff en-
burg, and prove his skill in this line of art. He was more important
as an engraver than painter, and belonged to what are called " the
little masters." We have no better examples of the manners and
customs of his time than his " Triumphal Entry of Charles V. into
Munich," and two pi'ocessions of soldiers by him. His wood-cuts
were free and spirited. His copper-plates are executed entirely
88 BEHAM BEICH.
with the graver, and are neatly done. From 1519 to 1530 he
marked his plates with the letters H. S. P. From 1531 to 1549 he
used H. S. B. His copper-plates are very numerous. The follow-
ing are a few of them :
Plates with the first cipher which were engraved at Nuremberg
from 1510 to 1530 :
Portraits of Hans Sebald and his wife ; the cipher with a wreath of
laurel in the middle ; engraved also by Ifo/lur.
Adam and Eve in Paradise ; two small plates. 1519.
S. Jerome with a cardinal's hat, and a Lion. 1519.
The Virgin suckling the Child. 1520.
The Virgin with a Glory, standing, holding the Child. 15'20.
The death of Dido; Regince Ditlonis imayo. 1520.
S. Anthony, Hermit, writing. 1521.
Plates with the second cipher which were engraved at Frankfort.
1531 to 1549:
Adam and Eve, a Stag behind them. 1536.
Adam and Eve in Paradise ; the Serpent presenting the Apple ;
very fine.
The Emperor Trajan listening to the Mother's complaint against
his Son. 1537.
Melancholy ; inscribed, Mdancolia ; 1539 ; after Albert Dtirer.
Fortuna ; a woman holding a Wheel. 1541.
A Man trying to pull up a Tree ; inscribed, Impossible, 1549.
Twelve small plates of the labors of Hercules ; inscribed, JErumnrr.
Herculis. 1542 to 1548.
The Judgment of Paris ; Judicium Parldis ; 1546 ; fine.
Death seizing a young Woman; Omnem in homine, etc.; 1547; fine.
Wood-cuts, marked sometimes with one, and again with the other
of his two ciphers :
Portrait of Beham with a Cap.
Eight prints of the Passion of Christ.
S. Jerome with a Book and Crucifix.
A Village Fair, with a Steeple and Clock; large frieze; very
scarce.
A March of Soldiers ; large frieze, in four sheets ; very scarce.
Biblica? Historian, 348 prints ; most of them with figures on both
sides.
The Baptism of the Anabaptists : circular, scarce.
The same subject ; large, four sheets ; very scarce.
Behnes, "William (1K01-1864). An English sculptor, distin-
guished particularly for his busts. In 1820 he gained the silver medal
for the best model from life.
Beich or Beisch, Franz Joachim, born at Munich (1663-1748).
He was first a pupil of his father. Willie! m Beich, then went to
Italy, where he became an imitator of Caspar Poussin. But he is not
BEICH BELLINI. 89
an imitator merely, for he was himself inspired by nature. Kugler
says: "He takes the first place among the painters of ideal ten-
dency." He was court painter to the Elector of Bavaria, and his
best works are in the electoral palaces. He excelled in landscapes
and battle scenes. While some of his pictures have the darkness
and heaviness of color, which was the fault of his time, others are
transparent and warm intone. Two landscapes in the Vienna Gall.,
which are excellent in many ways, fail in color ; but in the Munich
Gall, the opposite is true of Nos. 138, 162, and 171. We have also
four sets of plates, twenty-six in all, etched by Beich. They are of
landscapes, with figures and buildings, and are executed with facility
and spirit.
Beiiiaschi. See Benaschi.
Belcamp or Belkamp, Jan Van. A Dutch painter who was much
employed in England in copying the pictures in the royal college.
Bella, Stefano Delia, born at Florence,
(1610-1664). Son of a goldsmith, and in-
tended for his father's profession, he showed
such a talent for drawing, that he was placed with Cesare Dandini to
learn painting. But he had so great a preference for engraving that
he was allowed to study with Canta Gallina, master of Callot. Per-
haps no one has handled the point with more facility than Bella.
The number of his prints exceeded 1,400, so it is not strange that some
of them are slightly etched ; but he designed with great taste, and his
plates are brilliant in effect. In 1642 he went to Paris. Card.
Richelieu employed him to make plates of the siege and taking of
Arras. He also made some plates for Henrich, the uncle of Israel
Silvestre. When he returned to Florence he was appointed to in-
struct the son of the Grand Duke in drawing, and received a pension.
Belle, Clement-Louis-Marie-Anne, born at Paris (1722-1806).
Studied under Lemoyne, and later in Italy. His subjects were
religious and poetical. He was an academician, and inspector of
the royal manufactories at the Gobelins.
Belle, Augustine-Louis, born at Paris (1757-1831). Son of the
preceding, and his assistant at the Gobelins. He painted many
pictures of subjects from sacred and profane history, and the ancient
poets.
Belle, Nicholas-Simon-Alexis (1674-1734). Scholar of F. de
Troy. An eminent portrait painter.
Bellevois, died at Hamburg, 1684. A painter of marine subjects.
His works are in many collections in Flanders, and have considerable
merit.
Bellini, Jacopo, born at Venice (about 1405-1470). A pupil of
Gentile Fabriano, with whom he went to Florence in 1422. At that
time all strangers who settled in Florence were observed jealously
and regarded as intruders. One day a company surrounded the
90 BELLINI.
shop of Fabriano and threw in stones. .Taoopo was sent out to drive
them off, and came to blows with one Bernardo <li ser Silvrstri. a
son of a notary. This young man was determined on revenge, and
Jacopo, fearing trouble, left Fabriano, and " took service on board
of the galleys of the Florentine States." Bernardo went before a
judge and preferred charges against Jacopo, and he was summoned
to appear, which failing to do, he was sentenced to a fine. After a
year he returned to Florence, ignorant of what had been done. In a
few days he was seized for contempt of the court, and sent to the
Stinche. While there he compromised with Bernardo, and promised
to pay him twenty-five small florins, and to submit to an act of pen-
ance. This was performed on the 8th of April, 1425, when lie
inarched bareheaded, surrounded by a guard, to the Baptistery of San
Giovanni, where it was proclaimed by sound of trumpet, that Jacopo
had come to do penance, for having shown contempt of Florentine
law. This ceremony ended, he was set at liberty. From this time
there is much uncertainty respecting Jacopo. His master gave him
no assistance in the time of his trial. We know that Jacopo painted
the portrait of Fabriano, and that Fabriano held the first child of
Jacopo at the font ; but the dates of these occurrences are not
known. The only certain thing is, that Jacopo was in Venice in
1430, as is proved by his sketch-book. This book, after passing
through many hands, is now in the British Mus. It has 99 pages.
17 by 13 inches. The drawings are done in pencil, tinted with un IMI
earth in water-colors, and sometimes retouched with pen and ink.
Many of the sketches are very imperfect. In this book we are intro-
duced to the very innermost artistic life of Jacopo. It has sketches
of almost everything. Still and animal life, nature, ancient sculp-
ture, buildings, and human figures are all there. Nothing seemed too
small for his study. Some subjects are several times repainted, rear-
ranged, and brought to the perfection of his manner. The stories of
Judith and Holofernes, of David and Goliath, many New Testament
histories, the wonders of the hagiology and tlu^e of mythology all find
a place. In contrast with these are studies of apes, eagles, do^s. eats.
village scenes, hawking parties, etc., etc. The student of art delights
in this book, and understands the feeling which led Gentile Bellini
to leave it an heir-loom in his family, in order to perpetuate, as noth-
ing else could, the remembrance of his father. In his time artists
were not masters of anatomy and motion, and for that reason the
drawing of Bellini is the more admirable. He attained a middle
place between the conventionalism of art which preceded him, and
the naturalistic art which followed him. lie worthily commenced
what his son Giovanni, and Titian perfected. It is scarcely possible
to judge of Jacopo Bellini as a colorist, for tin 1 two panel pictures
which remain to us are greatly injured. One of these is a small
half-length of the " Madonna and Child," at Lovere, in the Coll.
BELLINI. 91
of the Counts Tadini. The other, No. 443, Acacl. of Venice, repre-
sents the same subject. These are injured by scaling and blackened
by time. Of his wall pictures, it is believed that some remain at
Venice, but those of Verona are better known. That of the " Cru-
cifixion," in the Arch-episcopal Pal., fully illustrates the style of this
master. A copy of another " Crucifixion," in the Cath. of Verona,
is in the Casa Albrizzi at Venice. The arrangement is little changed
from that in his sketch-book, and these works served as models
to the artists who followed him, especially Antonello of Messina,
Carpaccio. and Mantegna. Of his other works, there is a small
" Christ in Limbus," in the Communal Gall, of Padua, much in-
jured ; at S. Zaccaria, Venice, some frescoes in the dome of the
Chapel of S. Terasio, much abraded and blackened ; and a picture
of a " Dominican Friar, preaching in a Square," in the Oxford Mus.
This last was probably the work of some one in his atelier, and is
a panel on gold ground. It is known that Jacopo dwelt for a time
in Padua, and there had a work-shop in which his sons assisted him ;
that his daughter Nicolosia married Andrea Mantegna, and that he
painted pictures and frescoes in that city, one of which was done in
1459. It is believed that he induced Mantegna to study Donatello
and Uccelli, and thus greatly influenced the style of the gifted
Pad nan, and that he himself was affected by contact with that of
Donatello. Jacopo also painted portraits, one of which Ridolfi noticed
especially, that of the Kin? of Cyprus, who Avas beheaded at Venice.
Although Jacopo was greatly surpassed by his sons, he was a re-
markable man for his time, and deserves to be remembered for pre-
parin'_ r the way. and making it easier to those who folloAved.
Bellini, Gentile, eldest son of the preceding, born at Venice
(1421 ?-1507). After laboring Avith his brother Giovanni in the
atelier of their father, at his death they declared their perfect inde-
pendence of each other, but continued to labor together, and shared
the respect of their countrymen and the laurels Avhich they won.
The study of Jacopo and of his master, Fabriano, was of great value
to them, but they progressed far beyond both, and, together, laid the
foundation for the perfect style of Titian and his followers. Giovanni
Avas the most excellent, and Gentile was called " clumsy " by later
Venetians. But he did a noble Avork in teaching them the A r alue of a
thoughtful imitation of nature. In 1464 Gentile painted the doors of
the great organ of S. Marco. He represented four gigantic saints.
These are noAv in a Gall, leading from S. Mark's to the Ducal Pal.
Gentile Avas often employed as a portrait painter. Of his Avorks of
this kind I shall only mention No. 136, Gall, of the Capitol, Rome;
one in the University Gall., Oxford, of IAVO boys in profile ; Correr Mus.,
Venice, No. 14, and one of Lorenzo Giustiniani, noAv in the lumber
room of the Acad. of Venice. In 1474 he Avas appointed to restore
the old, and paint new pictures in the great council-chamber of
BELLINI.
Venice. His works there gained him much reputation. In 1479 Sul-
tan Mchemet, the conqueror of
Constantinople, sent to the Signo-
ria of Veniee for a good painter.
The Doge divided to send Gentile
Bellini, and he was dispatched
with two journeymen, in galleys
belonging to the state. In Con-
stantinople Gentile was treated
with great consideration, and made
many portraits of notable person-
ages. At one time he presented
the Sultan with a picture of the
head of John the Baptist in a
charger. The Sultan criticised the
painting of the neck, and when he
saw that Gentile did not under-
stand his mistake, he called in a
slave, and had his head instantly
struck off, to prove to the artist
what was the true action of the
muscles under such circumstances.
Such an act did not tend to make
Bellini enjoy his residence in the
domains of Mehcmet II. He re-
mained there a year, was made a
knight, and received many pres-
ents at parting. The Sultan of-
(Venice. S. Manad^ Orta. Gentile feml him . my ?ift h( , W()llM n . {m ^
but he only demanded a letter of
praise to the Signoria of Venice. He carried to Venice many
sketches, and a portrait of Mehemet. lie also brought a picture.
Louvre No. 68, which represents the reception of a Venetian
embassy by the grand vizier and other oflicers. AVhen Gentile
left Venice, Giovanni was appointed to his place in the council-
chamber, and when he returned, they continued the work in com-
pany. The pictures painted there were partly legendary, and partly
historical, and represented events in the Venetian wars in 1177; the
combats on the Adriatic; and the reconciliation of the Emperor with
Pope Alexander III. These were done in fourteen compartments.
They were almost destroyed by fire in 1577, but enough remains to
make their loss a subject of regret. The other great work in which this
artist was engaged was the decoration of the school of S. Giovanni
Evangelista, at Venice. Two of these pictures, one representing a
miracle by means of a relic of the holy cross, the other a procession
in which the same relic is borne, are in the Venetian Acad. Of his
8. LORENZO GIVSTIXIAXI.
BELLINI. 93
other works I shall only mention No. 90, in the Brera, at Milan,
representing " S. Mark preaching at Alexandria ; " and a portrait of
Mehemet, said to be in England. In the former of these he intro-
duced the costumes he had seen in the East. The picture was not
finished at his death, and in his will, he provided that his brother,
Giovanni, should not receive the sketch-book of his father until he
had finished the picture of S. Mark. This painting, in spite of the
injuries it has received, has a brilliant effect, and is valuable as the
last work of the elder, combined with the mature perfection of the
younger brother. There are other pictures ascribed to Gentile which
lack proof of having been painted by him. Such are No. 69, Louvre;
No. 13, Correr Mus.; and No. 12, Berlin Mus. He was also a
mosaist, and left a " Virgin and Child " to the company of S. Marco.
It is believed that he had a school, and that Titian became his pupil
in I486, Avhen but nine years of age. His time was constantly occu-
pied, and in 1506 he refused an order from the Marquis of Mantua,
asserting that he was engaged for a long time in advance. He was
married, but had no children, and worked until the day of his death,
at which time he was more than eighty years old.
Bellini, Giovanni, the younger brother of Gentile, was born at
Venice (1422-1512). The most excellent of this celebrated family.
His works maybe divided into two periods ; those which he executed
before he learned to paint in oil, and those done afterwards. The
first have sweetness and elegance, but are also dry and timid; the
last are a rich foretaste of the Venetian coloring which was perfected
later, while they lose nothing of the charms of the former. His
chefx-cV 'oeuvre , which can still be seen in the Acad., and churches
of Venice, were painted after he was sixty-five years old. We cannot
appreciate this man unless we take into account the state of Venetian
art in his day. It had been greatly influenced by Mantegna, the
Paduan, but Gio. Bellini must stand as the founder of true Venetian
painting. Even earlier than this its coloring had been softer, and
more richly blended than that of other schools. The very atmos-
phere resulting from its situation must have produced this, for it
habituated the artist to wonderful effects of color. Then the spirit
of the life there, the pomp, the cheerfulness, the oft-recurring fetes,
engendered a love of the rich and deep tones of color which so
enhance beauty. Then, too, about the time when Giovanni could
be said to be an artist, Van Eyck was introducing oil colors into
Flanders, and Antonello da Messina brought them to Italy. There
is a story that Giovanni went to the studio of Antonello in disguise,
and thus learned the secret of the new color mixing, but this is not
verified, and does not accord with his character. But, however he
may have learned, it is true that he employed oils with great success
and judgment. His compositions are not especially varied or poetical.
His powers were not versatile, but there is a moral beauty in his
BELLINI.
figures, rather than a spiritual one, and he seems to stop just on the
line which separates the highest earthly
type from the heavenly. Kugler says:
' ' His Madonnas are amiable beings,
imbued with a lofty grace ; his saints
are powerful and noble forms ; his
angels cheerful boys in the full bloom
of youth." His representations of
Christ are full of moral power, such as
has rarely been equalled. His draperies
are peculiar in the crystal-like clearness
of their deep, rich colors. His authentic
works do not belong to his youth. We
have seen how he labored with Gentile
in the great council-chamber, in which
place he continued to paint, at times, dur-
ing all his life. His earliest dated work
is of 1487, and represents a " Madonna
and Child " standing on a parapet. It is
in the Acad. of Venice, and there is a
similar one in the Berlin Mus. It is
interesting to see previous works of this
master, and study the changes through
which his style has passed. In this
way one can comprehend, in a measure,
the struggles through which he reached his later style, and his grop-
ing after the proper handling of the new oil mediums, which was an
art in itself. To 1488 belongs a large altar-piece in the Sacristy of
S. Maria de' Frari ; two angels in this are especially beautiful. The
whole picture is a fine piece of color, and nicely finished. There is
also a large altar-piece in SS. Giovanni e Paolo, which is one of his
earlier pictures ; and another, very similar, in the Acad. In the eh.
of S. Zaccaria is a "Madonna" with saints and an angel, dated 1505,
and at S. Salvatore, " Christ at Emmaus," belonir'm^ to the same
period. This last is especially fine. A similar picture, but not as
good, is in the Manfrini Gall. Perhaps his latest work of this kind
is in S. Gio. Crisostomo, dated 1515. In this he painted SS. Jerome,
Augustine, and Christopher. The shades of moral contrasts are
finely and powerfully drawn. It is a picture that compels one to
study i;. Other works of his are in the eh. del Kedentore, the Man-
frini (Jail., and the Aead. Some of them are allegorical represen-
tations, full of naleete and cheerfulness. One of his latest works was
a " Bacchanalian," with a landscape by Titian. He often painted the
single figure of the Redeemer. Liibke says of these representations:
" By grand nobleness of expression, solemn bearin<_ r , and the, excellent
arrangement of the drapery, he reached a, dignity which has been
CHRIST. BT GIO. BELLINI.
BELLINI BELLOTTI. 95
rarely surpassed." The pictures of Giovanni arc very numerous in
Venice, and found in all large collections elsewhere. Space will not
allow description. The following are some of the more important
ones : National Gall., Nos. 726 and 280 ; No. 27, Correr Gall. ; No.
4, Lochis Carrara Gall., Bergamo; a "Pieta," No. 188, in the Brera ;
" Pieta" in the Cath. of Toledo, Stuttgart Mus., No. 4-; Berlin Mus.,
Nos. 4, 6, and 36; Padua Gall., No. 48 ; Uffizi, No. 581 ; Castle
Howard, No. 125 ; Leuchtenberg Gall., No. 68; Mus. of Rovigo,
No. 80 ; Doria Gall., Rome, No. 5-; Belvedere, Room 2, Nos. 63 and
65; Naples Mus., No. 378; Stadel Gall, Frankfort, No. 17; Madrid
Mus., No. 665; Brera, No. 209; Louvre, No. 69 bis; and many, many
others. His very last work was a " Madonna " in S. Giustina, Padua,
dated 1516, It is a singular truth that some of his latest pictures
arc much more like those of a youthful artist than were his earlier
ones. For in 1514, almost at the close of his life, he painted a feast
of the gods, which represents the gay and sensual with the happiness
of the bright days of Titian. This picture is now at Alnwick Castle.
In 1515 he painted the " Venus of the Belvedere," Room 2, No.
43 His last works were thus in marked contrast with his first.
He is believed to have instructed Giorgione and Titian. It is said
that Albert Diirer visited him in the last year of his life, and pro-
nounced him the best artist of that time. His death occurred on the
29th of November, and he was buried in SS. Giovanni c Paolo, by
the side of his brother Gentile.
Bellini, Filippo, born at Urbino, 1594. A good painter, and an
imitator of Federigo Baroccio. One of his most important works is
a series of fourteen representations of the Works of Charity, in the
Chiesa della Carita at Fabriano. In the Basilica of Loretto there is
a " Circumcision," and in the dome at Ancona a " Marriage of the
Virgin," by this master.
Bellini, Giacinto, Cavaliere, born at Bologna, was living in 1660.
Pupil of Francesco Albano. Later ho studied with Francesco
Caracci in Rome. There he attracted the attention of Card. Tonti,
who employed him a long time, and procured him the knighthood of
the Order of Loretto. His pictures possess much of the gracefulness
of Albano.
Belliniano, Vittore, born at Venice. Flourished about 1526. A
painter of history. Several of his works are in the Confraternity of
5. Mark's, and the neighboring churches of Venice.
Bellotti, Bernardo, born at Venice, 1724; died at Warsaw, 1780.
A painter and engraver. Nephew and pupil of Antonio Canal,
called Canaletto. Bellotti painted perspective and architectural views
in a pleasing manner. He lived much in Germany, and etched, from
his own designs, views of Vienna, Dresden, and Warsaw. He was
a member of the Acad. of Dresden, and many of his pictures are
in the Gall, of that city. They are called by the name of Canaletto,
96 BELLOTTI BENASCHI.
which he assumed. He signed some <>{ his works Bernardo Belotto
detto Canaletto. Tho fine views of Dresden were ordered by Count
Briihl, at 200 thalers each. The figures were the work of Stct'ano
Torelli of Bologna.
Beltraffio, Gio. Antonio (1467-1516). A Milanese gentleman.
and a pupil of Leonardo da Vinci. His characterise is gentleness.
In the Louvre is an altar-piece painted for a ch. in Bologna. It
represents the " Madonna and Child " with John the Baptist and S.
Sebastian; the donors are kneeling. It was painted in 1500. In
the Berlin Mus. there is a " S. Barbara" by Beltraffio. " A figure
of peculiarly grand, statue-like dignity." In the National (Jail.
there is a " Madonna and Child " ascribed to him ; his works are
scarce.
Bellucci, Antonio, born at Pieve di Soligo (1654-1726). A
painter who excelled in small figures. He painted these in many nt
the landscapes of Tempesta. In color he belonged to the Tctirhnmi.
but used shadow so judiciously as not to spoil his color He is said
to have painted altar-pieces in Venice and Verona. There are
pictures of his in the Dusseldorf Gall., and a " Nativity " in the cli.
of the Ascension at Venice.
Beltrano, Agostino, and his wife. Amelia. Neapolitan painters
who flourished about the middle of the 17th century. They were
the pupils of Massimo, and Aniella was his niece. Beltrano was a
good fresco painter, and more than ordinary in his coloring in oil.
This is proved by numerous cabinet pictures, and a few large fres-
coes. Aniella painted in the same style, and worked with her
husband. She had talent and beauty. The pictures which are
called hers arc praised, e-pecially that of the " Birth and JK-ath of
the Virgin," in the Chiesa della Pieta de' Turchini. But it is not
unlikely that she was assisted by Massimo. In Ki-l!>, when thirty-six
years old. she was murdered by her husband, in a fit of jealousy.
She survived her wounds long enough to pardon Beltrano. lie lied
to France, and wandered, an outcast, till 1 <)."!. when he returned to
Naples and resumed his work. He lived, tormented by remorse.
till 1665.
Bemmell, William van, born at Utrecht (1630-1703). Pupil
of Herman Sachtleeven. and. like him, an excellent landscape
painter. He went to Italy and made many studies of scenery about
Rune. lie settled, at, length, in Nuremberg. His pictures were
much admired, and are mostly in German collections.
Bemmell, Peter Van, born at Nuremberg (1 <!!>- 1 723). Grand-
son of the preceding . and a landscape painter. His pictures are
scarcely known outside his native- city
Benaschi or Beinaschi, Gio. Batista, Cavaliere (1636-1688).
An imitator, and probably a pupil of Lanfranco. Most of his works
;:re in Naples, where lie painted ceilings and other frescoes.
BENASCHI BENCOVICH.
97
Benaschi, Angela. Daughter of the preceding, and a good
portrait painter.
Benazech (Benasech, Benezech, Benezeck, Benazec),
Charles. English engraver and painter. Studied at Paris under
Greuzc. Went to Rome in 1782. Returned to Paris, and, at the
time of the French Revolution, revisited London, where he died.
lie especially devoted himself to historical painting, and his best
works are a series of four pictures of the last days of Louis XVI.
He also left a few engravings.
Bencovich, Federigo, called also Federighetto di Dalmazia.
Flourished about 1 753. A native of Dalmatia, but educated in
Bologna. He studied the style of Carlo Cignani. His works were
good, and he painted pictures of merit in Milan, Venice, and
KEUEK, BY BENEDETTO DA MAJANO, FIJOM TIIK MAKBLE I'ULI'IT IX STA. CHOCK,
FI.OKENCE.
7
98 BEXCOVJCII BEXEFIAL.
Bologna. In the latter city, in the ch. of La Madonna del Piombo,
is an altar-piece by this master, representing the " Crucifixion of S.
Andrew." Many of his easel pictures are in Germany, where he
resided for a time.
Benedetto, da Majano, born at Florence (14 1'2- 1498). An
eminent architect and sculptor. He commenced life as a worker in
wooden mosaic or intarsiatore. His brother, Giuliano. was al><> a
celebrated artist, and a younger one, Giovanni, was of less inqxjr-
tance. Together they executed the ' Madonna dell Ulivo." in terra
cotta, and a ' Pieta" in bas-relief. They stand at a wayside shrine,
a mile outside the gate of Prato, towards Florence. "We have only
to compare the relief of the brothers with the Madonna " of
Benedetto, to perceive his excellence. His greatest work a< an
architect was the Palazzo Strozzi, which was commenced in 1489.
After the death of Filippo Strozzi the work was su>pciided. and the
building was finished under the direction of Cronaca. In 1490 he
made busts of Giotto and Squarcilupo in the Duomo at Florence.
In the same year he went to Naples, where he remained two years,
and was constantly occupied by the Duke of Calabria. He also
executed the bas-reliefs of the Annunciation " in the ch. of Monte
Oliveto, and, in 1491, the monument to Filippo Strox/i was erected
in Santa Maria Novella, which he had commiaooned Benedetto
to make before his death. It is the r/i> f'-ii'u ur/v of Majano, and
one of the finest works of the 15th century. He also made the
beautiful altar of S. Savino for the Cath. at Faen/.a ; a marble
pulpit at Santa Croce, Florence ; and some works at S. Simiirmum.
The pulpit at Santa Croce was very fine ; he supported it against a
column, through which he carried the staircase ; the reliefs repre-
sent M-enes from the life of S. Francis. In the I'tli/i there is a bust
of Pietro Mellini. who commissioned Benedetto to execute the pulpit,
and in the same Gall, a figure of S. John.
Benedetto. See CastL'Hone.
Beuedicto, Roque, died at Valencia, 1735. His pictures are
sometimes taken for those of his master, Gaspar de la Iluerta. His
he~t work represents S. Francis de Paula feeding three thousand
people with a little bread.
Benfatto, Luigi, born at Verona (15.") 1-1 61 1). Nephew and
pupil of Paul Veronese. He was distinguMicd for his works in the
public places in Venice. In the Chiesa i!i S. Marta are several of
lii.-. pictures illustrating the life of the saint, and in the ch. of S.
Nicholas a grand composition representing the Ascension of that
saint.
Benefial, Cavaliere Marco, born at Rome (1684-1764). In the
Palazzo Spada, Rome, there is a saloon painted entirely by this
artist ; in the Acad. of S. Luke a picture of " Christ and the Samar-
itan Woman," and in the Stimulate a - Flagellation." His merits
BENEFIAL BERCHEM. 99
have been much discussed, and his admirers give him unqualified
approbation, while others call him feeble in all points. His monu-
ment is in the Pantheon.
Benso, Giulio, born at Genoa (1601-1668). Pupil of Gio.
Batista Paggi. Soprani calls him an architect also. He painted
history and perspective. He was a protege of the house of Doria.
and some of his works were in their Palace. Several of his oil pic-
tures are in the churches of Genoa. That of u S. Domenico " is
much admired, and the " Crowning of the Virgin," in the Nunziata,
is a fine production.
Bent, John van der, born at Amsterdam (1G50-1690). Land-
scape painter. Scholar of Peter Wouvermans and Adrian van de
Velde. While he is not equal to his masters, his works are deserv-
ing of esteem. Many of them are in England. They bear a strong
resemblance to those of Nicholas Berghem.
Benvenuto, Gio. Batista, called L'Ortolano, or market gardener,
from the occupation of his father, born at Ferrara (about 1490-
1525). A contemporary of Garofalo, the prince of Ferrarese paint-
ers. L'Ortolano studied in Bologna under II Bagnacavallo. His
style was severe, and his pictures curiously finished. His heads are
weak, but his landscapes and backgrounds good, and his figures well
brought out. His works are in S. Niccolo, S. Maria de Servi, and S.
Lorenzo at Ferrara.
Berchem, Nicholas, born at Haerlem
1C 24-1 683). Son of Pieter Klaasze. The
if /1/W reason for his being called Berchem, or
Berghem, is not known, but he usually signed
his works with that name. He studied with his father, Van Goyen,
J. B. Weenix, and Jan Wils, and married the daughter of the latter.
It is evident from his works that he went to Italy, although no ac-
count of his having done so is given. He painted genre, battles, land-
scapes, cattle, and portraits. His best works are his small landscapes
with figures and cattle. He painted with great facility, and his wife
was so avaricious that she constantly excited him to work. She also
saw to it that his money was saved, as he liked to spend it for Italian
drawings. Berchem is the most celebrated of the group of painters
to which he belongs. Smith describes 417 of his works, and he left
besides more than 50 etchings, some of which show a better feeling
for nature than is found in his oil pictures. By their dates it is seen
that he handled the point when but ten years of age. The galleries
of Munich, Dresden, Vienna, Berlin, St. Petersburgh, and the
Louvre contain the largest number of his works. Some are also in
England, in the National Gall, and at Dulwich ; and Lord Ashbur-
ton has one of his best productions, called " Le Fagot," from a
bundle of wood carried by a man in the foreground. He seldom
made large pictures, but in 1648 he painted an Italian landscape, now
100
BEKCHF.M.
at the Hague, in which the figures are life-si/e. It was s>!d in 1*27
for 600, but it is cold and unsatisfactory, though well drawn and
lighted. In addition to his other work lie often painted figures and
animals in the landscapes of other artists, such as Iluysdael. Hohbeinn.
Jan Wils, Abraham Verboom, and Isaac Moucheron.
BERCHEM BERCHET. 101
ENGRAVIXGS AFTER THE WORKS OF BERCHKM.
Enqrnrer, AMAMKT, Jacques. Landscape, with Figures and
Cattle. The Port of Genoa. Landscape with a Stag Hunt. The
Female Villagers. Village Pleasures.
Engraver, AMSTEL, Cornelius Ploos Van. A Landscape with a
Woman riding on an Ass, with Cattle by the side of a Canal ; N.
lierghnn, fecit, 17C4; /'. Van Amstel, fecit, 1769.
Engraver, AVELIXE, Peter. A Landscape; fine.
Engraver, AVRIL, Jean Jacques. The Passage of the Rhine.
Engraver, BAS, James Philippe le. Four Plates of the Times of
the Day. The Embarkation.
En (/raver, CAXOT, Peter Charles. Returning from Market.
Engraver, CHARPENTIER, Pierre Franqois. The Shepherdess.
The Shepherd reposing.
Engraver, COULET, Amne Philibert. The " Rendezvous k la
Colonne."
Engraver, DANCKEHT or DANCKERS, Dancker. Four plates of
Landscapes and Figures, in one of which a man is passing a Bridge.
The best prints of Danckert.
Engraver, DAUDET, John Baptist. Two Landscapes, with Figurss
and Cattle.
Engraver, DEQUEVACVILT.KR, Franpois. Noon; a Landscape
with Figures. Evening; the etching by Weisbrod.
Engraver, GHOEXSVELT, John. A Set of Six Landscapes. A Set
of Four Landscapes; Berghem, del. Groenspclt, fee. Cle. de Jonghe,
exc. : fine.
Engraver, KOBKLL, William. Two Landscapes, with Figures and
Cattle.
Engraver, LAURENT, Peter. The Passage of the Ferry Boat.
The Shepherdess. The Fortune Teller.
Engraver, MAJOR, Thomas. The Travellers. Two Landscapes;
morning and evening.
Engraver, MARTKXASIK, Peter. The Watering Place.
Engraver, Nox, Richard Abbe de St. A Landscape with a Figure.
Engraver, PELI.ETIKR, Jean. The Watering Place. Ruins and
Figures.
Engraver, SCIILICHT, Abel. A Landscape, with Figures and
Animals.
Engraver, VKAU, Jean Le. The Village Blacksmith.
Engraver, VISSCTIER, Cornelius. Two Sets of Landscapes; four
plates each. Several Peasants dancing in a Cottage, called Berg-
hem's Ball. His finest plate. A Set of four Landscapes, the four
times of the Day. Several sets of Landscapes, with Figures and
Animals.
Berchet, Peter, French school (1659-1720). Pupil of Charles
102 BERCHET BERGMULLER.
de la Fosse. Went to England in 1(581. His host work is the
ceiling of the chapel at Trinity College, Oxford, repre.-cntiug the
" Ascension."
Berg, Mathias Van den, born at Ypres (161S-1647). It is said
that his father had the care of the estates of Kul>ens. and that master
took the son into his Academy. He is known only by his excellent
copies of the works of his master.
Bergen, Dirk Van, born at Haerlem (1645-1689). Piq il of
Adrian Van de Velde, and one of his most successful imi.ators.
His earliest works are the best, and are warm and sunny in color: in
his later ones the cattle become crude in tone, and hard in execution.
Nos. 15 and 16, Louvre, are among his best pictures, as aie ;I!M>
Nos. 28 and 29, Amsterdam Mus. He established himself in Lon-
don in 1673.
Berger, Daniel, born at Berlin, 1744. Pupil of his father. He
became a good engraver, made a number of portraits of the royal
family and many plates after different artists, principally those of
his own country. In 1787 he was appointed Hector and Pr
of Engraving at the Acad. of Berlin.
Bergeret, Pierre-Nolasque, born at Bordeaux (1 7SO-1828 ?).
A pnpil of David, and a distinguished painter of history and land-
scapes. He was happy in the choice of interesting subjects. Many
of his works were placed in the (Jail, of the Luxembourg, and other
royal collections. He also painted four portraits for the Hall of the
Chancellors. He designed bas-reliefs, amonir which may be men-
tioned those on the column of the Place Vendome. Many of his
pictures have been engraved and some of them used as illustration*
of splendid editions of "La Fontaine." Boileau."' etc.. etc.
Bergler, Joseph, born at Sal/.ber_ r . 17.".::: died at Prague. IS-.'!'.
When twenty years old lie had made himself so good : name that
Prince Firmian of Passaii sent him to Italy, with a pension. lie
went first to Milan, where lie was the pupil of Martin Knoller. He
remained five years in Milan, copying works of the masters, and
executing frescoes with his teacher. From Milan he went to Koine,
and in 1784 gained the prize of the Acad. in Parma. From this
time he received as many commisMons ;:s he could execute. He
remained in Rome until 1786, when he retnrr.e 1 to I'a>-au. In IM>O
lie went to Prague to assume the place of director of the Acad.: the
number of his oil pictures is very large. They are almost without
exception representations of religious subjects, and may be r-ecn in
the churches of his own country.
Bergmuller, John George, born at Dirkheim in Bavaria <
1762). Pupil of Andrew Wolff. Painter of history and portraits,
but best known by his engravings, which were' from his own designs.
Some of his pictures are in the churches of Augsburg, where In-
resided.
BERINGEBOTH BERNA. 103
Beringeroth, Martin, born at Ramelsbourg, 1670; died in Leipsic,
1 738. An engraver who executed a great number of portraits.
Beringeroth, John Martin, born at Leipsic (1713-1767). Son of
the preceding, and an engraver of portraits.
Berkheiden, Job, born at Haerlem (1628-1698). He is not known
to have had any teacher, but when young, made sketches which were
so much praised that he determined to become an artist. IJis pictures
are landscapes with small figures, and sometimes represent village
fetes, etc., with some success. He travelled with his younger brother
Gerit, and, when he returned to Holland, was well patronized. lit-
was employed by the Elector Palatine, when in Germany, and re-
ceived from him a gold medal and chain. Entire pictures by him are
rare. Repainted some portraits. No. 845, Berlin Mus., a landscape,
has his signature. Ho was drowned in a canal at Amsterdam.
Berkheiden, Gerit, born at Haerlem (1645-1693). His pictures
chiefly represent the exteriors of buildings in his own country, and
Italy. They are good, but not equal to those of Van der Heyden.
His works are rare in public galleries. There is a fine series in the
Hope Coll.; Amsterdam Mus., No. 26 is one of his best. The same
is true of Dresden Gall., No. 1470. Louvre No. 28, is a view of Tra-
jan's Column. Mr. Baring has an excellent view of a Dutch town,
with numerous figures.
Berkmans, Henry, born at Clunder, 1629; died at Middlebourg,
1690. His last instructor was J. Jordaens. At first he painted his-
tory, but his portraits were so good, and in such demand, that he
could not fulfil his commissions. He painted many of the most distin-
guished men of his time. His best work is a large picture of the
Company of Archers, in the Town Hall of Middlebourg.
Berlinghieri, Marco, Barone, and Bonaventura. These arc
three artists of this name mentioned as signing a treaty of peace with
Pisa, in 1228. The works of Bonaventura alone remain. They con-
sist of a series illustrative of the Life of S. Francis, in the ch. of
that saint at Pescia; and No. 28, a" Crucifixion," in the Acad. of
Fine Arts at Florence. These pictures are characterized by childish
simplicity. The angels are merely motionless half-fignres, with
embroidered dresses, and the resoluteness with which the different
(recurrences in the life of the saint are crudely indicated, is ludicrous
in the extreme. The sparrows to which he talks are huge birds,
perched on trees rising from a conical hill; and those persons whom
lie freed from evil spirits have little devils flying out of their mouths.
Berlinghieri, Camillo, called II Ferraresino, born at Ferrara
(about 1596-1635). Pupil of Carlo Bononi. Painter of history.
His works are chiefly at Ferrara and Venice. A picture of the
" Miracle of the Manna," in the ch. of S. Niccolo at Ferrara, is a
fine work, also that of the " Annunciation " in S. Antonio Abate.
Berna or Barna. True name thought to have been Barna Bertini.
104 BERNA BERNINI.
Sienesc painter (died 1381 ?). In the capitular ch. of S. Gimignano, in
the Vnldelsa, there still may bo seen some remains of the frescoes of
this old artist. They represent stories from the New Testament, and
have been injured by retouching. As far as can be judged, Barnrv
combined the peculiarities of Simonc and Ugolino minute drawing,
abundant ornament, muscular limbs, stiffened action, close-lit ting
draperies, and a general flatness in effect. Vasari claimed praise for
Barna on account of his having been the first to depict animals well.
In the Berlin Mus. are three pictures, Nos. 1067, 1072, and 1142,
which may be the works of Barna; the latter especially h::s his char-
acteristics, and in the Chapel del Rosario at S. Dominico in
Siena, there is a " Virgin and Child " attributed to him. He was
killed by a fall from his scaffold.
Bernabei, Pier Antonio, called dclla Casa, born at Parma.
Flourished 1 550. An imitator of Correggio. The Cupola of La Ma-
donna del Quartiere proves him to have been a good fresco painter.
Lanzi says, equal to any of that time in Lombardy. and perhaps in
Italy. There are also considerable works of his at the Carmelites,
and in other places in Parma.
Bernaerts, Nicaise, born at Antwerp (1608-1678). Pupil of
Francis Snyders. His pictures so nearly resemble those of his master
that they have been sold as genuine Snyders.
Bernard, Jan (1765-1833). A copyist of Paul Potter and
Berghem. A member of the Institute, and of the Acad. of Fine
Arts at Amsterdam.
Bernard of Brussels. See Van Orley.
Bernard, Solomon, or Little Bernard. An engraver, born at
Lyons, 1512. His best prints are those for a Bible published at
Lyons from 1550 to 1580.
Bernard, Samuel, born at Paris, 1615. A miniature painter and
i'ii'_ r raver. Pupil of Simon Vouet. He attempted frescoes, but
failed. He succeeded better in miniatures, but at last became an
engraver.
Bernini, Gio. Lorenzo, born at Naples, 1598; died at Rome, 1680.
As early as his tenth year he had become known as a prodigy in art.
At this time his father took him to Rome. Pope Paul V. became
interested in him, and also Card. Barberini. who assisted him in his
studies. Good fortune ever attended his steps, and, although he
lived during nine pontificates, the favor of the rei'_ r niii'_ r Pope was
always his. His fame extended to other countries, and he was
invited to France, to which country he went when sixty-eight years
old. accompanied by one of his sons and a numerous retinue. He
was loaded with favors, and received large sums of money and
valuable presents. lie held several benefices at Rome, and his son
was Canon of Santa Maria Mag^iore. He was bin led with great
magnificence i:i the last named ch., and left the immense fortune of
BERNINI.
105
400,000 Roman crowns. Tie had versatility of talent, remarkable
imagination and perceptive power, and marvellous facility of execu-
tion. It has been said that marble was like clay, or wax, beneath
his hand. He believed and constantly said that one must be above
rules in order to excel. There is a fascination in the sound of this
maxim, but Bernini's own works prove that its practical application
is hurtful, and his extraordinary executive ability often failed to
atone for the bad taste in which he treated his subjects. In short,
his desire for picturesque and unusual effect made him an injury
rather than a benefit to the art he practised. Westmacott says it
would have been better for sculpture had Bernini never lived.
His " Apollo and Daphne " was executed when he was but eighteen
years old ; yet he himself declared, near the close of his life, that he
had made little progress since it was produced. Some of his most
important works were exe-
cuted in the time of Urban
VIII., among which are
the great altar of S. Peter's,
in bronze and gilt, beneath
the centre of the dome ; the
pulpit and canopy of S.
Peter's ; colossal statues of
the Four Doctors of the
Church supporting the chair
of S. Peter; the Campanile;
the circular piazza before
the Basilica, and the Pal.
Barberini. The beautiful
colonnade of S. Peter's was
executed according to his
plans, and under his direc-
tion. He also built the
Chapel of S. Teresa, in the
ch. of Santa Maria della
Vittoria; the ch. and high
altar of S. Bibiano; a large
part of the ch. of S. Anas-
tasia; the celebrated Chigi
Pal. ; the Collegio Urbano
di Propaganda Fide, besides
.. , APOLLO AND DAPHNE. BY BERNINI.
portions of other churches
and palaces. For Charles
I. of England he executed a statue. For this purpose the king sent
him three portraits by Vandyck, and the likeness was so satisfactory
that, in addition to the 6,000 crowns paid for the statue, Charles sent
him a ring worth as much more. The colossal equestrian statue of
106 BERNINI BEKTHELEMY.
Louis XIV., executed by Bernini. was afterwards converted into
Marcus Curtius, and was sent to Versailles. Bernini also executed
the monuments of Urban VIII. and Alexander VII. in S. Peter's.
and the decorations of the Bridge of S. Angelo. Among his charac-
teristic and exaggerated works an- tin- fountain in the Piazza
Navona ; the "Ecstasy of S. Teresa," and the "Apollo and
Daphne " before mentioned.
Berre, Jean Baptiste, horn at Antwerp, 1777; died in Paris, about
1830. A painter of subjects in the manner of Weenix. His pictures
were highly finished, are much sought for by amateurs, and bring
large prices. He lived mostly in Paris. His works arc in several
rich collections.
Berreguette, Alonso, born at Parades de Nava, in Castile, alxnit
1480. The most eminent Spanish artist of his time. He is called
the Michael Angelo of Spain, for he was painter, sculptor, and
architect. He studied with his father Pedro, and was painter to
Philip I. He was in Florence in 1503, and went with Michael
Angelo to Rome in 1505. lie devoted many years to study in Italy,
returning to Spain in 1520. He was appointed painter and sculptor
to Charles V. He received 4400 ducats for the high altar of the
ch. of S. Benito el Real, in Valladolid, where he settled. When
almost eighty years old he went to Toledo, .to construct a monument
to Card. Tavera in the Hospital of S. John Baptist. He was lodged
in the hospital, and there died in 1501. He left a large fortune,
and was buried with magnificent ceremonies at the expense of the
emperor.
Berrestyn, C. V., flourished about 1050. A German engraver.
There is one plate of a woody landscape, signed with his name and
the above date, which is very seaive.
Berretoni, Pietro. See Cortona. .
Berretoni, Niccolo, born at Montefeltro, 1627. He was the best
scholar of Carlo Maratti. In the eh. of Montesanto, at Rome, there
is an altar-piece representing a scene in the life of S. Franci*. which
is his best work. He became a member of the Acad. at Rome in
1675, and died in 1682.
Bertaud, Marie Rosalie, born at Paris, about 1 7oo. An en-
graver, whose best works an- after the pictures of Vernet. She was
instructed by 8. Aubin and Choffard.
Bertelli, Cristofano, born at Rimini, \'>~i:>. We have a few
plates bv him, stiffly executed with the graver.
Bertelli, Ferrando, born at A'enice, 1.VJ5. lie engraved mostly
after the Venetian painters.
Bertelli, Lucas. A relative of the prcerdin-_ r , who engraved after
the Italian masters. Some of his prints are very scarce.
Berthelemy, Jean Simon, born at Laon, 1743; died in Paris.
1811. Pupil of N.Halle. His subjects were historical and poetie;d.
BERTHELEMY BETTELINI. 107
He painted ceilings in the Pal. of Fontainebleau, the Luxembourg,
and at the Museum. He was a member of the Acad. and Director
of the School of Design.
Bertin, Nicholas, born at Paris (1667-1736). Son of a sculptor,
who died while he was a boy. He studied with John Jouvenet, and
later with the elder Boulogne. So much talent had he, that he
gained the first prize at the Acad. when eighteen years old, and was
sent to Rome with a pension from the king. He remained three
years. Returning to Paris, he so distinguished himself, that he was
made a Royal Academician in 1 703. He Avas employed by Louis
XIV. at the Trianon. He painted in Normandy, and in the Abbey
of S. Germain des Pres is a representation of the " Baptism of the
Eunuch of Queen Candace," which is fine.
Bertucci, Jacopo, called Jacoponc da Faenza, flourished about
1530. Was best known as a copyist of Raphael, and also executed
SOUK- good pictures at Faenza.
Bertucci or Bertusio, Gio. Batista, born at Faenza, died 1644.
Studied under Denys Calvart, and afterwards in the school of the
Caracci. He painted history and imitated Guido. His drawing
was good, but his color chalky and cold. Many of his works are in
the churches of Bologna.
Bervic, Charles Clement, born at Paris (1756-1822). A pupil
of J. G. Wille. A fine engraver. A plate of the " Laocoon," made
by him for the Musce Frai^ais, Bryan calls the best representation
of that group ever engraved . It has been sold as high as 30.
Beschey, Balthasar, born at Antwerp (1708-1776). A weak
painter of history and portraits. Antwerp Mus. Nos. 496 and 497
are his, and seem to imitate Gaspard de Craeyer. They represent
scenes in the life of Joseph. His own portrait is No. 498 Antwerp
Gall.
Beschey, J. F., born at Antwerp (1739-1799). A copyist of Dutch
and Flemish painters.
Besenzi, Paolo Emilio, born at Reggio (1624-1666). An imitator
of Albano. His best pictures are in the ch. of S. Pietro, at Reggio,
r.nd are worthy of commendation.
Bestard. A Sparish artist who lived at Palma at the end of the
17th century. He ornamented several public buildings there, and
painted a picture for the convent of Monte Sion, which was 24
palms wide, and 15 palms high. It represents " Christ in the
Desert attended by Angels," and is the wonder of Palma. He had
good knowledge of drawing, color, and chiaro-scuro.
Bettelini, Pietro, born at Lugano, 1763. A very eminent en-
graver. Thorwaldsen so esteemed him that he employed him to
engrave his finest works. His plate of the " Entombment," after
Andrea del Sarto, is called his chef-d'oeuvre, and is a magnificent
work of art.
108 BETTI BIGARI.
Betti, Padre Biagio, born at Pistoja (1545-1615). Pupil of
Danicle da Yolterra. After the death of his master Bctti became a
monk of the Theatine order. His works are principally in the.
monastery of his order at Rome.
Betto, Bernardino di. See Pinturicehio.
Bewick, Thomas, born at Cherry Burn, 1753; died at Gateshead.
1828. This artist is distinguished as the reviver of wood-en<rra\in<_r.
He was apprenticed to Ralph Beilby at Newcastle, an excellent and
painstaking master, who pointed out to him in what he could excel.
His first considerable work was the illustration of Dr. Hut ton's book
on mensuration. He at length became a partner of Beilby and. in
1790, published his " History of Quadrupeds." From this time his
fame was established. He afterwards made the illustrations for
many fine- books, among which were li British Birds," " British
Water Birds," Goldsmith's " Deserted Village " and " Traveller,"
etc. He had many distinguished pupils, such as Harvev, Ncsbitt,
Hole, Ransom, and Clennell.
Bianchi, Cavaliere Isidore, born at Milan. Flourished about
1626. Pupil of Morazzone, and one of his best followers. His fres-
coes were his best works, and may be seen in the churches of Como,
and in S. Ambrogio, at Milan.
Bianchi, Pietro, born at Rome, 1694. Pupil of Benedetto Luti.
One of his best works is a picture of the " Conception " in the ch.
of S. Maria degli Angeli.
Biancucci, Paolo, born at Lucca (1583-1 653). Pupil of Guido.
His works resemble those of Sassoferrato. A representation of
" Purgatory" in the ch. of the Suffragio, and an altar-piece in S.
Francisco are among his best works.
Bicci There were three artists of this name, and there h:i-
much confusion regarding their individuality. It now seems to he
established that Lorenzo di Bicci married Madonna Lucia d'An^elo
da Panzano. Their ?on Bicci was born in 1373, married in 1-11*.
and was father of Neri di Bicci. Thus we have Lorenzo di Bicci,
Bicci di Lorenzo his son, and Neri di Bicci his grandson. No
pictures now remaining are positively known to be tlm-e <>t I.<vt n/.o.
Of the works of Bicci, a few remain. No. 14. first corridor. I'Mixi
Gall., represi-ntin^ " SS. Cosmo and Daniian," was formerly in the
ch. of S. Maria del Fiore, executed about 1129 Some other works
still remain in S. Maria del Fiore. and a terra cotta above the portal
of S. Maria Nuova; the drawing of these was better than the color.
Neri di Bicci was little more than a house-painter, but he filled
half Tuscany with pictures. Many of these still remain in churche>.
and there are four "Annunciations" by him in the Ac-ad, of Arts
in Florence. These artists were among the last of the weak imita-
tors of Giotto.
Bigari, Vittorio, burn at Bologna. His works may be seen in
BIGARI BISCAINO. 109
almost every church in Bologna, and are well spoken of. In the
ch. of the Madonna del Soccorso, there is a " Madonna and Child,"
with S. Petronio and other saints, which is much admired.
Biliverti, Gio., born at Florence (1576-1644). Pupil of Cigoli.
He united, in a degree, certain elements of his master, of S. di Tito,
and of P. Veronese. A picture of the "Chastity of Joseph" by
him is in the Florence Gall. It is much admired, and has been so
often copied, that amateurs should be on their guard concerning it.
Several of his works are in S. Gaetano and S. Marco.
Biltius, Francis. An artist of the Netherlands, who flourished
about 1650. He painted dead game, hunting-horns, pouches, nets,
etc., in such a manner that they were often mistaken for the real
articles. He used white backgrounds.
IT -T-V Binck, James, born at Cologne, about 1504. A dis-
[) tiniiiiished old engraver whose plates are highly prized.
He is believed to have studied first with Albert Du'rer,
and some of his plates resemble those of that master. He went to
Rome, and, it is said, studied with Marc Antonio, and engraved
after the works of Raphael under his guidance. From the size of
his plates he is called a little master. His drawing is correct, his
style neat, and he had facility of execution. He usually marked his
plates I. B., or with those letters with C. between, forming a cipher.
Birch, Thomas. An Englishman who settled in Philadelphia,
where he died in 1851. He painted marine views. His pictures of
the engagements between the U. S. Frigate Constitution and the
British Frigate Guerriere, and between the United States and the
Macedonian, have much historical value, and are in the Gall, of
Joseph Harrison in Philadelphia.
Bird, Edward, born at Wolverhampton, 1762; died at Bristol,
1819. Son of a carpenter, he was apprenticed to a tin and japan-
ware maker. When he became his own master he removed to
Bristol, where he was first a drawing teacher and at length an artist.
He succeeded in gaining a reputation rapidly, and his pictures had
a ready sale. In 1814 he was appointed painter to the Princess
Charlotte, and the next year was made a member of the Royal Ac;nl.
His genre pictures were the best, and he made a mistake in attempt-
ing historical representations. Although not equal to Wilkie, he
painted in his style. His best works are, the " Results of the Battle
of Chevy Chace," and the ' Surrender of Calais." He was much
respected, and was buried with honors in the Bristol Cath.
Biscaino, Bartolommeo, born at Genoa (1632-1657). Studied
first with his father, Gio. Andrea Biscaino, and later with Valerio
Castelli. His early works showed great genius, and his future was
full of promise. Although but twenty-five, he had painted several
important pictures when the plague devastated Genoa, to which
both Bartolommeo and his father were victims. There are three
1 1 BISCAINO BLACHERNITA.
pictures by this artist in the Dresden Gall. He also etched some
plates in a free, bold manner, with good drawing and high finish.
Biset, Charles Emanuel, born at Antwerp, 1633. This artist
went to Paris, where his pictures, which were conversations, or
representations of gallant assemblies, were much in vogue. lie met
with good success, but his love of Antwerp caused him to return
there, and he was made director of the Aead. in 1C 74. In the hall
of the Society of Archers there is a picture of " Tell compelled to
shoot the Apple from his Son's Head," which is the work of this
artist.
Bisi, Michael. A celebrated engraver of Milan. He gained his
first reputation by the " Pinacoteca del Palazxo Keale, della Scienze
delle Arti," etc., which he published. He commenced u set of
engravings after the works of Andrea Appiani in 1819, in which he
was assisted by the best pupils of Loughi. Later he made plates
after various masters, all of which were good. He also painted land-
scapes with some success.
Bissolo, Pier Francesco. A Venetian artist, who painted from
1500 to 1528. He was brought up in the school of the Bellini. His
heads arc beautiful and full of expression. His characteristics are
gentleness, and delicacy of execution. In the Berlin Mus. then- is a
fine work of his, representing the " Resurrection of Christ : in
the Manfrini Gall., an "Annunciation," and in the Venetian Acad.
kk S. Catherine of Siena, exchanging the crown of thorns for a crown
of gold; " signed Franciscus Biwilo.
Bissuccio, Leonardo di But one work of this artist is known
to remain. It is the decoration of the monumental chapel to Sergiani
Carracciolo, in the ch. of S. Giovanni a Carlxmara, at Napl-
was built in 1433. The style of the pictures is Giottesque, but the.
heads are more like those of Fiesole. Carracciolo was the lover and
seneschal of the younger Queen Johanna, and one of these pictures
represents him naked, as he was found after his murder. There are
also scenes from the " Life of the Virgin," and pictures of several
members of the Carracciolo family. There is an inscription which
clearly tells the name and origin of the painter.
Blaceo, Bernardino. An artist of Udine, in the Frioul, who
llourished about 1 5.~>0. His works are in several churches in Udine.
Blachernita, Michael and Simeon. These artists were painters
of miniature* or the illuminations of MSS. Their names are upon
the miniatures in the celebrated Menologium or Calendar of the
Emperor Bar-ilius II. It was executed al>out 1000 A. D., and is now
in the Vatican, No. 1613, Vaticana. It is supposed that Ludovico
Sforza, Duke of Milan, procured it from Constantinople. There
remain at present but five months, but these contain 430 miniatures
on gold grounds, represent in _ f scenes in the "Life of Christ," and
in the lives of those saints whose days occur in these months. This
BLACHERXITA BLANSERI. 1 1 1
MS. was presented to Paul V. who placed it in the Vatican in
1615.
Blackmore, John. An English mezzotinto engraver, who has
left some well- scraped plates of portraits. Flourished 1770.
Blake, William, born in London (1757-1828). Poet and painter,
a man of wonderful, rather than practical genius. He was appren-
ticed to an engraver. He lived in a sort of dream-land, and took
what he called portraits of Moses, Homer. Milton, etc. He said of
himself, that his business was " not to gather gold, but to make
glorious shapes, expressing godlike sentiments." He painted but
little. He married Catherine Boutcher, who was a devoted wife.
He also possessed the strong friendship of the sculptor Flaxman.
Fie loved the antique, and the works of Raphael and Michael Angelo.
His illustrations of the Book of Job, Young's " Night Thoughts,"
Blair's " Grave," etc., are astonishing conceptions, but his published
works are too well known to need description or criticism.
Blanchard, Jacques, born at Paris (1600-1638). When twenty-
four he went to Italy, and lived two years in Rome and two in Venice.
He perfected himself in the coloring of the Venetian masters, for
which he was much admired after his return to Paris. He has been
called the French Titian. His pictures are agreeable, and his flesh
tints are very good. In the ch. of Notre Dame are two pictures by
this master, representing the "Descent of the Holy Ghost," and
" S. Andrew kneeling before the Cross." Several of his works are
in the Louvre. He also etched plates from his own designs and
those of other masters.
Blanche!:, Thomas, born at Paris, 1617; died at Lyons, 1689. At
first he studied sculpture under Sarrazin, but abandoned it on ac-
count of his delicate health. He went to Rome and studied under
Andrea Sacchi. He was a friend of Algardi and Nicholas Poussin,
both of whom advised and encouraged him. Returning to Paris, he
painted the " Vision of S. Philip," and the "Baptism of the Eu-
nuch," for the Cath. of Notre Dame, and was then employed to
execute various works for the Hotel de Ville at Lyons. These last
earned him a reputation as an historical painter. When admitted to
the Acad. at Paris, he painted for his picture of reception, " Cadmus
killing the Dragon."
Blankhof, John Teunisz, born at Alkmaer (1628-1670). Pupil
of Caesar van Everdingen. He spent some time in Raly. He ex-
celled in marine views, and some of his best pictures represent
storms on the Mediterranean coast, in which he imitated the scenery
of Italy with Dutch truthfulness.
Blanseri, Vittorio, born in Venice (1735-1775). Educated in
the school of Cavaliere Beaumont, he was his best scholar, and his
successor in the office of painter at the court of Turin. His principal
works are in that city, one of which, representing " S. Luigi faint-
ing," is in the ch. of S. Pelagio, and is much admired.
_XP<7 C
o^n^e^ <L/n^v^f^ J-B *
1 12 BLECK BLOEMEN.
Bleck or Bleeck, Peter Van. A Flemish engraver, who went to
England about 1730. He engraved in mezzotinto, and his plates
have considerable merit.
Bles, Henri de, born at Bouvignes, 1480 ;
died probably 1550 at Liege. A painter of
landscapes who belonged to one of the last
branches of the Van Kyck school. He adopted
an owl for his monogram, and was called
Civetta in Italy. His manner was stiff and dry, resembling thai of
Jacob Patinier in color. He often introduced a Scripture subject in
a landscape. No. 624, Berlin Mus., is one of his earlier works, and
is a male portrait with a landscape background. No. 91, Munich
Gall. Cabinets, represents the " Adoration of the Kings." In the
Coll. of the Prince Consort at Kensington there is a " Crucifixion "
by this master. His works are rarely for sale, and are much
esteemed.
Bloemaert, Abraham, born
at Gorcum about 1564; died at
Utrecht, 1647. Painter and en-
graver, a contemporary of Ku-
bens, and the son of Cornelius Bloemaert, an eminent architect.
He painted history, landscape, and animals. His drawing was verv
bad. "The Wise Men's Offering," in the Jesuit ch.'at Brussels:
a "'Nativity" at Leliendael; also Nos. 745 and 722, Berlin Gall.;
No. 193, Munich Gall.; the " Feast of the Gods," in the Hague (Jail.,
and a " Madonna" in the Mechlin Cath. are by Bloemaert. He de-
serves the most attention as an engraver, for his etchings are good, his
plates in chiaro-scuro are spirited and effective, and the outlines arc-
not cut on blocks of wood, as is customary, but etched on copper.
Bloemaert, Cornelius, son of the preceding. Born at Utrecht.
1603; died at Rome, 1680. A very distinguished engraver, lie
studied first under his father, then with Crispin de Passe. In KJ.'iu
he went to Paris, where he distinguished himself. He went to Home
where he passed the remainder of his life. His engravings were fine,
but he effected a change in his art, which added to his fame more
than his works. Before his time there was an inattention to har-
mony, and the lights were left indiscriminately clear, which had an
incongruous and spotted effect. Bloemaert effected a gradual or
insensible gradation from light to shade, and made a variety of
tints in the distances. Thus he may be called the originator of tin-
sty le followed by Poilly. Audran, Picart. and the great, French
engravers. His works arc much prized, ami several of them have
become scarce. He masked his plates C. BL. or COKN. Bi.o. or
C. BLO.
Bloemen, John Francis Van, called Ori/onti, born at Antwerp.
1656; died at Home, 1710. He painted like an Italian, for he went
BLOEMEN BLONDEEL. 113
to Italy when very youn^, and there passed his life. His works are
in the Colonna, Doria, and Rospigliosi palaces in Rome, and also in
the pontifical Pal. at Monte Cavallo. He painted landscapes and
received his sobriquet from the Soc. of Flemings at Rome, on account
of the delicate beauty with which he painted his distances. His
pictures are very unequal. He made choice of good subjects, and
some of his best ,are almost equal to those of Caspar Poussin, and
although inferior to the latter he merits a rank among the best land-
scape painters. His works are well known in England, and there
are six in the Louvre, Xos. 33 to 38, also three landscapes in the
Vienna Gall.
Bloemen, Peter Van, called Standard, born at Antwerp (1649-
1719). Brother of the preceding. He went also to Rome, but re-
turned to Flanders, with numerous studies made in Italy. He painted
attacks of cavalry, from which he received the name of Standard;
also battles, fairs, caravans, etc. His figures and animals were
drawn with great freedom and spirit, and his landscapes were
adorned with ruins of statues, and architectural ruins. In 1G99 he
was appointed director of the Acad. of Antwerp. In the Dresden
Gall, there are six pictures by this artist. Xo. 993, " The Vagrant
Family," is the best; next to it is one of Fishermen and an old gray
Horse, and Travellers with Horses before an Inn.
Blond or Blon, James Christopher Le, born at Frankfort, 1670;
died at Paris, 1741. He went early to Italy, where he studied under
Carlo Maratti. He next went to Amsterdam with B. van Overbeok.
There he painted miniature portraits which were much esteemed. He
went at length to England, and attempted the printing of mezzotinto
plates in colors, so as to represent perfectly the pictures from which
they were made. He disposed of the prints which he made by a
kind of lottery, and published a book upon the Harmony of Coloring
in Painting. He also conceived the idea of making tapestries from
the cartoons of Raphael. Houses were purchased, drawings made,
and much money expended, but the scheme failed, and Le Blon
went to Paris, and, it is said, died in a hospital. His prints, aside
from their novelty, have some merit.
Blondeel, Lancelot. Flourished at Bruges about 1520 to 1574.
His pictures have rich architectural backgrounds, often in Renais-
sance style; executed on a gold ground. The effect is brilliant.
His figures are in the Italian style. His flesh tones are cold, and his
whole execution mannered. In the ch. of S. Jacques, Bruges, is a
picture representing SS. Cosmo and Damian, dated 1523; his earliest
known work ; in the Cath. a "Madonna" with Saints, dated 1545 ;
and the Berlin Mus. has two of his works, Nos. 641 and 656. The
mantelpiece in the council-hall of Bruges was designed by Blondeel,
and is adorned with statues of Charles V. and other princes. He
was originally a mason, hence his monogram of a trowel.
114 BLOOT BOCCACCINO.
Bloot, Peter. A painter ot Holland. Flourished about lf>:><>.
died 16G7. He represented scenes from low life; drunken frolics,
quarrels, etc. His characters are uncomely, grotesque, and even
disgusting. Unlike some other artists, such as Ostade and Teniers.
he has not attempted to reconcile us to vulgarity by ingenious
arrangement or beautiful colors. His works are very rare and lii^lilv
prized in Holland.
Blooteling or Bloteling, Abraham, born at Amsterdam.
1634. His style indicates that he studied under the
Visschers. He became a very eminent designer and en-
graver, and produced a large number of etchings; some plates in
mezzotinto, and some executed with the graver. He went to Eng-
land in 1672, and remained two years. He etched plates of the
Coll. of gems of Leonardo Augostini, and published them in 1685.
Blot, Maurice, born at Paris (1754-1818). Pupil of Aug. S.
Aubin. He engraved in a neat style, and has left some plates of
portraits and fancy subjects.
Bobadilla, Geronimo, born at Antequerra ; died, 1080. Pupil
of Zurbaran at Seville. He thoroughly understood perspective, and
arranged the figures in his pictures well, but his designs were not
good. His color was better. Murillo compared the varnish he used
to crystal. He was one of the founders of the Acad. at Seville. He
made a large Coll. of drawings, models, sketches after celebrated
artists, etc.
Bocanegra, Don Pedro Atanasio, born at Granada (1638-1 (!**).
A pupil of Alonso Cano, he also studied color from the works of
Pedro de Moya and Vandyck. He was a boaster, vain and arro-
gant, disliked by all who knew him, and when he was challenged
to prove his skill he stole away from Madrid to avoid the test. Hut
his works were much esteemed, and no Coll. was thought complete
without them. At the college of the Jesuits, Granada, is the " Con-
version of S. Paul," one of his finest works , and in the Cloister of
Nuestra Senora de Gracia a " Conception."
Boccaccino, Boccaccio, born at Cremona (14GO-1518). Few
facts are known in the life of this old painter. In 141)7 he had
painted a series of frescoes in S. Agostino, and had a school at
Cremona, from which Garofalo ran away in 1499. His compositions
are scattered ; his perspective bad ; but there is a certain grace and
spirit in his figures. His remaining works are frescoes in the Cath.
of Cremona ; at S. Quirico in Cremona, a panel much in the Vene-
tian style of painting ; an early tempera on canvas in the Bishop's
Pal. at Cremona; No. 132, Venice Acad., and an altar-piece at S.
Giuliano at Venice. There are others that are supposed to be his
in various collections, which are attributed to Perugino, Pinturicchio,
etc.
Boccaccino, Camillo, born at Cremona (1511-154$). Son of
BOCCACCINO BOEYERMANNS. 115
the preceding. At the time of his early death he was the most
promising artist of the Cremonese school. The " Raising of Laz-
arus," and the " Adulteress before Christ," at Cremona, are well
esteemed, and he painted the " Four Evangelists," in S. Sigismondi,
in a style which showed great knowledge of perspective and fore-
shortening.
Bocciardo, Clemente, called Clementone, born at Genoa (1620-
1658). His principal works are at Pisa, and a "Martyrdom of S.
Sebastian," in the ch. of the Carthusians, is one of the best.
Bocciardo, Domenico, born at Genoa, 1686. In the ch. of S.
Paolo, Genoa, there is a picture by him of S. John baptizing several
persons.
Bockhorst, John Van, called Langen Jan, born at Munster,
1610. His family removed to Antwerp, and he became a pupil of
Jacob Jordaens. He painted much in the style of Vandyck. His
portraits were excellent, and his historical pictures rank among the
best productions of the Flemish school. They are in many Flemish
churches. In the ch. of S. James, at Ghendt, there is an altar-piece
representing the Martyrdom of the Saint, and in the ch. of the
Beguines, at Antwerp, a "Resurrection;" both fine works by this
master.
Boedas. Third son of Lysippus, the great sculptor of Sicyon.
Nothing is known of Boedas but that he made a statue of a praying
figure. Many believe the " Praying Boy " in bronze, in the Mus. of
Berlin, to be his work. Of course there is no way of proving this,
but the whole style points to the school of Lysippus.
Boece, C. F. See Boetius.
Boehm. See Beham.
Boel, Pieter, born at Antwerp (1625-1680). He studied under
Francis Snyders, but completed his education under his uncle, Cor-
nelius de Wael, at Genoa. He was very nearly allied to the manner
and excellence of Snyders, and considered a fine painter. His
pictures are rare. At Antwerp there is a series called the "Four
Elements." Munich Gall., No. 327, represents two sporting dogs
guarding dead game ; very fine. His etchings were also fine, and
take place among the rarest works of the kind. A series of six plates
of Birds, and a " Wild Boar Hunt," merit special notice.
Boethus of Chalcedon. We have an account of three statues of
boys by this sculptor. The "Boy with a Goose," in the Louvre, is
copied from one of them.
Boetius or Boece, Christian Frederick, born at Leipsic, 1706.
Lived chiefly in "Dresden, and was made professor of the Electoral
Acad. in 1 764. He engraved several plates from the pictures in the
Dresden Gall., for the volumes published in 1753 and 1757. He also
engraved some portraits, and other subjects.
Boeyermanns, Theodor, born at Antwerp (1620-1678.) An
116 BOEYERMANNS BOL.
excellent painter, and imitator of Vandyck. Was made a member
of the Antwerp Guild in 1654. His pictures are scarce. Either he
did not put his name on them, or it has been removed in order to
pass them as Vandyck's. The Antwerp Mus. has two of his pictures :
No. 403, called " L'Ambassadeur," and No. 404, ' The Pool of
Bethesda," a large composition dated 1675. His works are also in
the ch. of S. James, and the Convent of the .Jacobins at Antwerp,
but his chef-d'ceuvre is a representation of " S. Francis Xavier con-
verting an Indian prince " in the Jesuit ch. at Ipres.
Boissieu, Jean Jacques de (1736-1810). An
iJ7o eminent engraver, who has left about sixty charm-
ing plates. They are of landscapes and other
subjects, both from his own designs and those of other artists. He
marked his plates D. B., with the date. He also painted some por-
traits, and a few pictures of subjects similar to those of Ostade.
Boizot, Louis Simon (1743-1809). French sculptor. His father
was a designer, and at the age of nineteen Louis had sained the
grand prize of the Royal Acad. , and was sent to Rome, by the king.
The group of allegorical figures in the Place du Chatelet is his best
work. There are two busts executed by him in the Gall, of Fontaine-
bleau.
Boizot, Marie Louise Adelaide, born at Paris, 1748. She was
instructed by J. J. Flipart, and engraved with neatness both por-
traits and other subjects.
Bol, Ferdinand, born at Dortrecht, 1609 ; died at Amsterdam,
1681. A pupil of Rembrandt, whose style he followed but for a
time. His historical subjects are not skilful in composition, and las
heads have a tiresome sameness, while his color was too yellow.
The force of his pictures is astonishing, and yet they lack refine-
ment. His portraits were his best efforts; they were painted in full
lights, and his flesh tones were truthful, while the expresMon was
animated and life-like. One of his fine early works is a portrait
painted in 1632, Berlin Mus., No. 810. His best work is probably
that in the " Leprosenlmys,"' at Amsterdam, in which a doctor is
recommending an infected boy to the Regents. The heads are
masterly, and the hands are finely painted. In the ' Iluyssittcn-
huys " there is a picture of the same kind. Mr. Barin<_j has a scene
from Guarini's Pastor Fido," and a couple of fine portraits. No.
42, Louvre, is also a portrait. In the town-house at Leyden tin-re is
an allegory of " Peace," and in the Dresden Gall., No. 1203 repre-
sents "Joseph presenting Jacoti to Pharaoh," and No. 120.">, "David's
Letter concerning 1'riah." The>e la>t an- of the best of his
later works. Bol was also an engraver, and his etchings, though not
equal to those of his master, are highly esteemed. His lights and
shadows are good, and his style with the point is bold and free,
rather than light and tasteful, like that of Rembrandt.
BOL BOLOGNINI. 117
( Bol, Hans, born at Mechlin, 1535; died at Amsterdam,
I t IJ 1593. An engraver and painter. At first he attempted
large pictures in size colors, but afterwards confined him-
self to miniatures. His execution was good, as was his drawing also,
and his animals, flowers, etc., are truthfully represented, as well as
his portraits. He used his pictures for the decoration of books, an
example of which may be seen in the Imperial Library at Paris,
No. 708. His pictures are also in the cabinet of engravings at
Berlin, and the cabinet of miniatures at Munich. He etched some
plates too, from his own designs, which have considerable merit.
Boldrini, Joseph Nicolas. A wood engraver.
tf There is much difference in the accounts of this artist,
but his plates are mostly after Titian, and it is thought
that he studied under that great master. His plates are rare.
Bologna, Gio. or Gian, born at Douai (1530 7-1608). Called II
Fiammingo. His father wished him to be a notary, but his taste for
sculpture was early so decided, that he placed him with an artist
named Beuch, who had studied in Italy. From this master he went
to Rome, and at length settled in Florence. He founded his style
upon the study of Michael Angelo, and was undoubtedly the best
sculptor of his time ; but his works show the decline of art, when
compared with those of the fifteenth century. He most excelled in
the representation of abstract ideas, which gave an opportunity for
the display of his great technical skill. In the treatment of religious
subjects, which he rarely attempted, he was less successful. Among
his best works may be mentioned the group of the " Rape of the
Sabines;" the equestrian statue of Cosmo I., in the Piazza della
Signoria ; and a Mercury, in the Uffizi. A group of "Hercules
and Nessus," which stands near that of the Sabines, in the Loo^ia
oO
de' Lanzi, is good, but not equal to the latter. A fountain in the
Boboli gardens; a Venus, at the Villa of Petraca; a S. Luke, at Or
S. Michele, and a representation of Victory in the Palazzo Vecchio,
are all works of more than ordinary merit. These are but a small
portion of the works of Bologna. The " Rape of the Sabines " is
considered his chef-d'ceuvre, and copies of the Mercury are to be seen
in many galleries and museums of art. Flaxman says that his
" Venus coming from the Bath," both standing and kneeling, " are
remarkable for delicacy and grace."
Bolognese, n. See Grimaldi.
Bolognini, Gio. Batista, born at Bologna (1612-1689). One of
the best pupils of Guido Reni. His works are in several churches
of Bologna. He also etched some plates after the works of Guido,
which are done in a slight and spirited manner.
Bolognini, Giacomo, born at Bologna (1664-1734). A nephew
and pupil of the preceding, he became a painter of history. His
pictures are in some Bolognese churches, and have considerable
merit.
1 18 BOLS WERT BONCUORE.
Bolswert or Bolsuerd, Boetins Adam,
born at Bolswert in Friesland. 15SO. Where
he studied engraving is not known, but he
became eminent in th:it branch of Art. He
followed the manner of Cornelius Bloemacrt.
He settled with his brother Scheltius in Antwerp, as a print-seller
and engraver. He used the graver only. His finest plates arc-
after Rubens, and have more color and finish than his others.
Bolswert or Bolsuerd, Scheltius A.,
born at Bolswert, 1586. A very eminent
engraver; in truth, one of the most so of
his country. His plates embrace all classes
of subjects, but he was especially happy in representing tin- finest
works of Rubens and Vandyck. It is said that Rubens often re-
touched his proofs with chalk, and he made the corrections with the
graver. He never used the point. Some of these proofs are in the
portfolios of lovers of the curious.
Bombelli, Sebastian, born at Udina (1635-1685). Pupil of Guer-
cino. Especially distinguished as a portrait painter and a copyist
of Paul Veronese. Boschini says that in his imitation of Veronese.
he could not be excelled. In early life he painted some historical
pictures which gave promise of excellence, but portrait painting
promised him greater rewards, and he confined himself largely to
that branch of painting. He travelled through Germany and painted
portraits of many eminent persons at different courts.
Bonacina, Gio. Batista, born at Milan, 1G20. An engraver who
imitated Cornelius Bloemaert, without equalling him. His style is
neat, but dry and stiff.
Bonasoni, Giulio, born at Bologna about 1498. A
j 1 n painter and very cmiment engraver. Some of his
/ \J pictures are in the churches of Bologna, but it is as an
engraver that he demands attention. He was instructed
by Marc Antonio, and although he did not equal him, he executed
pi ites after the works of some of the best masters with great facility
an 1 elegance. He used the graver almost entirely. The distribution
of lights and shadows, and breadth in the masses are especial points
of excellence in his plates. He engraved after M. Angelo, Raphael,
Giulio Romano, Parmegiano, etc., and also several plates from his
own designs.
Bonatti, Gio., born at Fcrrara, 1635; died at Rome, 1681. Pupil
of Guercino, and a protege of Card. Carlo Pio. Later, in Rome, he
studied with P. Francesco Mola. In the Gall, at the Capitol there
are works of his, and in the churches of Santa Croce in Gerusa-
lemnie, and Chiesa Xuova.
Boncuore, Gio. Batista, born at Abruzzo (1643-1699). Pupil of
Francesco Albano. His l>c>t characteristic is force and vigor of effect.
One of his best works is in the Chiesa dc^li Orfa-u-lli at Ilo:ne.
BONK BOXIFAZIO. 1 19
Bone, Henry, born at Truro in Cornwall (1755-1834), He was
a manufacturer of china, but became an eminent enameller. He
was first distinguished by his copies of the " Sleeping Girl " by Sir
Joshua Reynolds, but his greatest work was the " Portraits of the
Illustrious Men and Women of England," which he reproduced in
enamel. Since his death they have been bought by collectors of the
beautiful. He was a member of the Royal Acad.
Bonesi, Gio. Girolamo, born at Bologna (1653-1725). Scholar
of Gio. Viani. He imitated Carlo Cignani. His works may be seen
in the churches of S. Marino, S. Biagio, the Certosa, and othir
public edifices of Bologna.
Bonfanti, Antonio. An artist of Ferrara, called II Torrieella.
His pictures are in the public edifices of that city. The most
esteemed are the " Holy Family," in the ch. of La Santis; ima
Trinita, and " Christ in the Temple," at S. Francesco.
Bonfigli, or di Buonfiglio, Benedetto, born at Perugia (1420?-
1496?). He was superior to all the Umbrians of his time, except
Piero della Francesca, and must have been acquainted with the
classic art of Florence. His works were considered the greatest
ornament of Perugia. His largest work was the Hall of the Palazzo
Comunale, which he decorated with scenes from the lives of S. Louis
of Toulouse and S. Ercolano. They were commenced in 1454, and
wei'e not finished in 1496. The progress of painting in his time is
well illustrated in the works of Bonfigli, and they prepare the way
for the excellence of Perugino. Besides the Hall already mentioned
he undertook the chapel of the " Magistrate," and a Brutus in the
refectory of the Priori in the Palazzo Comunale. For S. Domenico
he painted an " Adoration of the Magi," now No. 18, Perugia
Gall. ; for the company of S. Bernardino, a banner, 1465 ; a
" Virgin of Mercy," 1478, and many works which testify to his great
industry. Vasari says that Pinturicchio was the assistant and friend
of Bonfigli, and Lanzi says that Perugino was his pupil. Whether
these artists were associated with him or not, they undoubtedly
profited by his example, and were indebted to him for giving a
consideration to Perugian art, which had not before belonged to it
Boni, Giacomo, born at Bologna (1688-1766). Pupil and as-
sistant of Marc Antonio Francesehini. Said also to have studied
under Carlo Cignani, whose style is imitated in some of his frescoes,
such as the ceilings of S. Pietro Celestini at Bologna, and S. Maria
della Costa at S. Remo. A picture of the " Infant Jupiter," and a
saloon at the Palazzo Pallavicino, by this master, are much admired.
Bonifaccio, Francesco, born at Viterbo, 1637. Pupil of Pietro
da Cortona. His works were in the public edifices of Viterbo, and
possessed considerable merit. In the Palazzo Braschi is his picture
of the " Woman taken in Adultery."
Bonifazio, Veneziano (1491-1563). A pupil of the elder
120 BONIFAZIO BON VIC1XO.
Palma, and an imitator of Titian. In color lie approaches tin; last-
named master, and is altogether an eminent example of what patient
application can do even when pi-eat talent is wanting. There are
many works of his in Venice. His most pleasing pictures are those
of simple arrangement, such as Saints and Holy Families. " The
Rich Man's Supper," in the Acad. at Venice, is one of his best
works. His latest pictures are weak and mannered.
Boningtoii, Richard Parkes, born at Arnold, Nottingham (1801-
1828). A fine landscape and marine painter. He copied in the
Louvre, was a student in the jficole des Beaux Arts, and occasionally
attended the studio of Baron Gros. He visited Italy, and painted
tome pictures in Venice. He exhibited a few pictures at the Hoval
Acad. before his death, but since the International Exhibition of
1862, he has been more appreciated in England.
Bonone, Carlo, born at Ferrara (15G9-1G32). Pupil of Giuseppe
MftCKUoli. He visited Bologna, and so admired the. works of the
Caracci, that he copied some of their principal pictures; he went to
Venice, and to Parma, where he studied the excellences of Paul
Veronese and Correggio. His small pictures are in the style of the
Caracci, but his larger works are more akin to those of Paul
Veronese. Many of his works are in the public edifices of Ferrara.
and some of the best Ferrarese painters were his pupils.
Bonsignori, Francesco, born at Verona (1455-1519). Little is
positively known of this old master, although many of his works
remain in Verona and Mantua, and specimens are to lie seen in many
of the large galleries of Europe. Vasari calls him a pupil of Man-
tegna, but this seems improbable, upon a careful examination of his
works, as a change in his manner about 1-J.si indicates that he came
under the influence of Mantegna at that time. He was patronized
by the Marquis Francesco Gonzaga, who gave him a salary and a
house in 1487.
Bonvicino, Alessandro, called II Moretto di Brescia, born at
Brescia (1500-1547). At first he imitated Titian, but afterwards
studied the Roman school, and produced a manner full of grace.
stateliness, and simple dignity. His oil pictures were better than liis
frescoes, and his best works were quiet altar-pieces, for he did not
succeed in the action necessary to historical painting. lie has left
fine works in his native city, and his pictures are to be. seen in
Vienna, Frankfort, Berlin, the Louvre, etc. A large altar-piece.
representing " The Virgin between SS. Anthony and Sebastian."
in the Stadel Institute, Frankfort, is worthy of notice. A colossal
" Adoration of the Shepherds," Berlin Mus., is excellent. In the
Imp. Gall., Vienna, there is a line picture of S. Justina, with the
Duke of Ferrara (called a Pordenone) kneeling beside her, which
has been engraved by Uahl. His portraits have, been likened to
those of Titian, and he was the matter of Moroni. Tim National
BONVICINO BOONEN.
121
A GLORIFIED MADONNA. BY IL MORETTO.
Ruili Mus.
Gall, has a portrait, and a picture of S. Bernardino and other saints,
which is very fine. His works are numerous.
Boonen, Arnold Van, born at Dortrecht (1669-1729). Pupil ot
Schalken. He painted portraits and yenre pictures. He is not
equal to his master, whom he closely imitated. His pictures are
taken frequently by candle-light. In the Dresden Gall. No. 1579,
two young men, one smoking, is truthful and full of feeling. Nos.
1570 to 1582 are also by Boonen. He executed some large pictures
for the different companies of Dort and Amsterdam, and the portraits
of many distinguished personages.
122
BORDONE.
8. JTTSTINA AND ALPHON3O I. OF FEKKAltA. BY IL MOKETTO.
Beivedere, Vienna.
Bordone, Paris, born at Trevigi (1500-1570). His portraits
were his best works, and for them lie is distinguished. lie was of
noble family, and well educated before he entered the school of
Titian. Many of his female portraits are in the I'ilixi: the Manfrini
Coll., Venice; the Belvedere and Kstcrha/y galleries, Vienna: and in
other places. All his heads are fine, and some of them closely
resemble Titian. Two of his larger works are in the Herlin Mils.,
but the best of this class is in the Acad. of Venice, and represents
the fisherman presenting the ring of S. Mark to the Doge; it is
BORDONE - BORGIANI.
123
splendidly executed. Bordone was invited to France by Francis I. ,
and painted the portraits of the king and many of the nobility.
Borgani, Francesco, born at Mantua. Flourished in the middle
of the 17th century. Scholar of Domenico Feti. Lanzi says this
artist merits more attention than he receives. His works are in the
churches of Mantua.
Borgiani, Orazio, born at Rome (1 57 7-1 G 15). Studied with his
brother called Scalzo. Copied the works of the masters of Rome.
A man of violent temper. Riding one day in a coach, at Rome, he
saw some artists, among whom was Caravaggio, laughing at him; he
sprang from the carriage, seized a bottle of varnish from the shop of
a druggist, and threw it at the heads of the offenders. He passed
some years in Spain, where he was well received and patronized, and
on his return to Rome was employed by the Spanish ambassador.
COUOXATIOX OF THE VIHGIX. BY BORGOGNONE.
In S. Simpliciauo, Milan.
124 BORGIANI - BORZONE.
His works may be seen in some churches of his native city, and he
also left a few plates etched in a free, bold manner.
Borgognone, Ambrogio. Flourished about 1500, born at Milan.
His pictures are by no means excellent, but his heads are gentle and
meek in expression; and sometimes they have a peculiarly austere and
mournful look. His works may be see in Milan, especially in the cli.
of S. Ambrogio; in Pavia the frescoes in the Carthusian Convent,
formerly ascribed to Bramante, are by Borgognone. In the Berlin
Mus. there are. two works by this artist, one of which, an " Enthroned
Madonna," has a high reputation.
Borras, Nicholas, torn at Cocentayna, 1530; died at Gandia, 1G10.
A priest, monk, and painter. He studied with Joancs at Valencia.
and was his most eminent disciple. He took orders and lived as a
priest in his native town, continuing to paint meanwhile. At length
he went to the convent of the Jeronymites at Gandia, to paint some
pictures for their high-altar. When his work was ended he refused
all payment, and desired that the habit of their order should be uiven
him. This was done and he remained in the convent three, years.
but hoping to find a stricter discipline, he went to a Franciscan
monastery near Valencia. He did not remain long, and returning to
Gandia, passed the rest of his life there. His industry was wonder-
ful, and the number of his works immense. He not only gave his
time and skill to his convent, but also devoted goodly sums of money
for the comfort and elegance of its appointments. He hired sculptors
and decorators at his own expense, and came to be considered a
benefactor to his community. While he lived fifty masses were said
yearly for his soul. The Mus. of Valencia has more of the pictures
of Borras than of any other artist. There are about fifty of them,
mostly on panel. His style is similar to that of his master: his heads
are often striking, and his accessories fini>hed with great care and
minuteness. His coloring is colder than that of Joancs.
Borrekens, John Peter Francis, born at Antwerp (1747-1827).
A painter of landscapes, which were often ornamented with figures
and cattle by other masters.
Borrekens, Matthew, born at Antwerp, 1615. An engraver.
who was chiefly employed in copying the plates of eminent engravers
for print-x'llers. lie worked entirely with the graver, and imitated
Pontius without equalling him.
Borsum, Abraham van. A painter of landscapes, birds.
animals, etc. His pictures resemble Rembrandt's in color. His
drawings are highly esteemed in Holland, and sell for lari_ r e sums.
Borsum, Adam van. Flourished 1066. A painter of animals
who imitated A. Vandermeer and Paul Potter. His color is good,
and his drawing free and spirited.
Borzone, Luciano, born at Genoa (1590-1645). Pupil of his
uncle, Filippo Bertolotti. Painted history, but excelled most in por-
BORZONE BOSCH. 125
traits. In the ch. of S. Spirito, Genoa, there is a " Baptism of
Christ," and in S. Domenico a " Presentation in the Temple," by
this master. He fell from his scaffolding in the Chiesa della Nunzi-
ata, arid was killed. Soprani says his house was the resort of culti-
vated people, and he himself a man of great attainments. lie left a
few plates etched from his own designs. His three sons, Gio. Ba-
tista, Carlo and Francesco Maria, were all painters, and the latter
excelled in landscapes.
Bos or Bosche, Jerome, born
^- > ^ r y at Bois le Due, 1470. A painter
<S> -> Li O 5* an< ^ engraver. He represented
very singular and grotesque sub-
jects, such as devils, spectres, etc.
These are treated with wonderful ingenuity. He sometimes painted
more serious subjects, such as the " Flight into Egypt," and " Christ
bearing his Cross." A very singular picture of his represents " Christ
delivering the ancient Patriarchs from Hell." Judas attempts to
escape also, and is seized by devils, who suspend him in the air.
There are so many works by this artist in Spain, that it has been
thought he must have gone there. At the Royal Gall., Madrid, there
are the " Fall of Lucifer and the Angels ; " " Adam and Eve driven
from Eden; " and the " Triumphs of Death," which is a very singu-
lar picture. Death, scythe in hand, gallops on his white horse, driv-
ing multitudes to the land of shades. The entrance is fortified by
coffins, and guarded by skeletons. Behind Death follows a sort of
dead-cart, to take up the slain. In the foreground there is a com-
pany of revellers, and a king falls dead. The plates of this artist
represent the same fantastic subjects. They are in the stiff Gothic
style, and arc much prized by collectors.
Bos, Lewis Janssen or John, born at Bois le Due (1450-1507).
A painter of small portraits, flowers, fruits, etc. He finished with
extreme nicety, and the insects on his plants were painted with
surprising truth.
Bos, Gaspar van den, born at Hoorn (1634-1GGG). A painter of
marine subjects. His storms and calms, with ships, have consider-
able merit in color and finish.
Bosch, Hieronymus. His real name was Agnen, but he was
called Bosch, from his birthplace, Herzogenbusch. Died 1518. He
represented fantastic ideas with a demoniacal manner. He founded
a style which was followed by others. His execution was careful
and sharp. Berlin Mus., No. 563, " The Last Judgment; " Antwerp
Mus., No. 41, " Temptation of S. Anthony."
Bosch or Bossche, Balthasar van den, born at Antwerp (1681-
1715). Painted interiors with great success. His pictures were
very popular. He also succeeded in small portraits. The Duke of
Marlborough was attracted by his fame, and sat to him for his
126 BOSCH BOSIO.
picture. He was represented on horseback, and the horse was done
by Peter van Bloemen. His pictures were well arraiitred. his heads
had life and expression, and his color was warm. Antwerp Mus.,
No. 448, u Reception of a Burgomaster of Antwerp in the younger
Guild of Cross-bow Shooters."
Boschaert. Nicholas, born at Antwerp, 1696. A fine painter of
flowers and fruits.
Boschi, Fabrizio, born at Florence (1570-164-2). A pupil of
Domenico Passignani. At nineteen he surprised the artists of his
day by his excellence. The " Martyrdom of SS. Peter and Paul."
painted for the Certosa at Florence, and an " Assumption of the
Virgin " in the ch. of the Convent of S. Lucia, are among his best
works.
Boschi, Francesco, born at Florence (1619-1675). An excellent
portrait painter.
Boschini, Marco, born at Florence, 1613. Pupil of Palma. and
an imitator of II Tintoretto. His " Last Supper." in the Sacristy of
S. Girolamo, at Venice, is one of his best works. He was a dis-
tinguished engraver, and wrote a book called " La Carta del Nave-jar
Pittoresco." He signed his plates Marc UK lliixrliintn*.
Boscoli, Andrea, born in Florence (1550 Y-l 606). Scholar of
Santo de Titi. Painted history with some merit, also portraits with
good success; that of himself is in the Florentine Gall.
Boselli, Antonio, flourished about 1500. Little is known of his
life. He was a sculptor and painter. At Bergamo, believed to have
been his native place, in the ch. of S. Cristoforo, there is a picture
of " SS. Peter, Paul, and Luke," inscribed. Ifor ojm* Anioniuiii *<:!/<>
}>inzi<se Bosellum, die 23 Februarii, 1509. In the ch. of the Augus-
tines there are other works of his.
Boselli, Felice, born at Piacenza (16.50-1732). He copied the
old masters to perfection, and his copies are numerous, but are
seldom attributed to him, as they pass for originals. He attempted
historical painting, but afterwards painted birds, animals, etc.
These pictures are much esteemed in Piacenza, and are in the best
collections.
Bosio, Francis Joseph, born at Monaco (1 769-1845). Pupil of
Pajou, but he formed bis style by the study of the antique, lie wa>
chief sculptor of the King of France, and his most beautiful works
are in Paris. He executed many busts of the royal family and men
of note. The bas-reliefs of the column in the Place Vciidome were
from his designs. 1 Hercules stru-jglin-j with Achelous transformed
into a serpent, in the Garden of the Tuileries (bronze) ; the eques-
trian statue in the Place des Victoires: the .statues of France and
Truth, at the grave of Malesherbes; the figure of the King of Rome;
and the triumphal chariot of the arch in the Place du Carrousel : the
nymph Salmacis, and a Hyacinth, in the Gall, of the Luxembourg,
1 A portion by Basio; others by Bcrgeret.
BOSIO BOTTICELLI. 127
are some of his best works. In 1830 Bosio completed tlie monument
of the Countess Demidoff. He was also engaged on the monument of
Louis XVI. Bosio was a Knight of the Legion of Honor, and tin-
Order of S. Michael; and a member of the French Institute and
Royal Acad. of Fine Arts at Berlin.
Bosschaert, Thomas Willeborts, born at Bergen-op-Zoom,
1613; died at Antwerp, 1656. Pupil of Gerai'd Segers. He went to
Italy and remained four years. His pictures were fine and bear
comparison with those of the first masters of his country. His
picture of the " Martyrdom of S. Basil " is in the ch. of the Capu-
chins at Brussels; the '' Martyrdom of S. James " in the ch. of that
saint at Bruges; and in the House in the Wood at the Hague is his
emblematical picture of "Peace and War." He was a member of
the Antwerp Acad.
Bosse, Abraham, born at Tours, 1610. He wrote a treatise
callen " La Maniere de Graver a 1'eau forte, et au Burin." He
left a good number of plates, principally from his own designs.
They are bold and masterly, etched with unusual spirit and freedom.
Both, Jau and Andries. These brothers were so united in life
that no separate story can be told of them. They were born at
Utrecht about 1609-1610. Their father painted glass; they were
pupils of Abraham Bloemaert, and went to Italy, where Jan,
charmed by the scenery, gave himself to landscape painting, while
Andries ornamented his pictures by figures, and painted some other
subjects by himself. Of these last, No. 1214, Dresden Gall., is a
good example. He also left etchings (ten), which are especially
good. Jan succeeded in both large and small pictures ; the most
apparent fault in them is their sameness. So much in harmony did
the brothers paint, that one would not imagine their works not done
by one hand. The National Gall., No. 71; the Louvre, No. 43;
Amsterdam Mus., Nos. 37 and 38; and Nos. 17 and 18 at the Hague,
are all good examples of their style. The ten landscapes etched by
Jan are equally as good as his pictures. He also well engraved the
" Five Senses," designed by Andries. Andries was drowned in a
canal in Venice in 1645 ; and Jan returned to Utrecht, but did not
survive his brother more than five years.
Bottala, Gio. Maria, born at Savona, 1613; died at Milan, 1644.
Went to Rome and studied under Pietro da Cortona, whom he
always imitated, although he was called Raffaellmo, from his love
for the works of the great master. His works are principally in the
churches of Naples and Genoa. One of his best pictures, the
' Meeting of Jacob and Esau," was placed in the capitol by Bene-
dict XIV. Card. Sachetti was the friend and patron of Bottala.
Botticelli, Sandro. Real name Alessandro Filipepi, called
Botticelli from his first master, a goldsmith. Born in Florence
(1447-1515). Scholar of Fra Filippo Lippi, and twenty-two years
1 28 BOTTICELLI BOUCHER.
old at the death of that master. Vasari says that at that time
Botticelli was the best artist in Florence. His religion* pictures are
wanting in deep feeling, but have a certain sweetings and warmth
which appeal to the heart more than the colder works of other
artists, and even those of Ghirlandaio may be included in the list.
In historical works he displayed his fanciful conception of his sub-
ject, united with the impetuous energy of Filippo. He endeavored
to raise his subjects above the ordinary mode-, and also represented
myths and allegories. About 1474 he was employed in the Sjstine
Chapel, and painted three large pictures, besides twenty-eight figures
of Popes between the windows. The large works are full of action,
the figures are expressive, and the landscapes beautiful. Of his
allegories, that of " Calumny," at the Ufh'zi, is most remarkable.
The " Birth of Venus," in same Gall., is naively sweet. These
works prove him to have been a student of ancient architecture, and
antique, classical statuary. His later works were finer than his
earlier ones, and he received many honorable commissions. Lorenzo
de' Medici was his employer ; he was of the number consulted re-
garding the placing of Michael Angelo's " David," ami his name is
frequently met in Florentine papers of his time. During the very
last of his life he degenerated, and his pictures of that period are
poor and weak. He died in comparative poverty. His works are
very numerous. There are many in Florence, some in Rome and
other Italian cities, and they are to be seen in the Louvre, tin-
Nat ional Gall., the galleries of Berlin, Dresden. Vienna, Munich,
etc., and in private collections. Botticelli also engraved a number
of plates.
Bouchardon, Edme, born at Chaumont, 1698 ; died at Paris,
1762. Studied first with his father, and then at Paris, under Cous-
ton. He obtained the first prize of the Acad. and went to Koine.
\\here he diligently copied from the antique and executed a bust of
Pope Clement XII. He made a copy of the " Barberim Faun," now
' in the Gall, at Munich. His most celebrated works were the " Foun-
tain of Grenelle," and the equestrian statue of Louis XV. in the
Garden of the Tuileries, upon which Bouchardon labored for twelve
years, and which was destroyed in 1 7!)2. Some of his works may
be seen in the gardens of Versailles and Choi-y. and in the choir of
the eh. of S. Snlpice. We have also a few etchings by this artist.
Boucher, Francois, born at Paris (1701-1770). One of the
most mannered of French painters. Wornum says he appeared
" to have discovered a new race of human beings." lie went to
Italy, was a member and director of the French Acad.,. and ap-
pointed principal painter to Louis XV. in 1 705. He was also super-
intendent of the tapestry manufactory at Beauvais. His pictures are
of a decorative type. He painted all subjects in one manner. In
his own style he could scarcely be equalled, not to say surpassed, and
BOUCHER BOURDON. 1 29
his influence was bad, on account of the numbers who became his
imitators. His form and color were at fault, and yet, for decoration
on tapestry, his works have much beauty. His pastoral subjects
were his best, and he thoroughly mastered the mechanism of art.
He left several slight etchings.
Boucquet, Victor, born at Furnes (1619-1677). His works arc
found in many Flemish towns. He painted history, and his pictures
are well composed and well colored. The best altar-piece in the ch.
at Ostend represents the " Descent from the Cross," and is by
Boucquet; and in the great ch. and Town Hall of Newport are somo
of his best works.
Boulanger, John, born at Troves, 1613. An engraver who
adopted and improved upon the manner of John Morin, in finishing
flesh with dots, which gave a very soft appearance. The draperies
and background were harsh in contrast with the other parts, but his
plates are well esteemed and have a good degree of merit.
Boullongne, Louis, the Elder, born at Paris (1609-1674). A
painter of history, professor of the Acad., and painter to the king.
His best works are in the Cath. of Notre Dame, at Paris. He
etched three plates: the "Miracle of S. Paul at Ephesus; " the
11 Martyrdom of S. Paul ;" and the " Rape of Helen," after Guido.
Boullongne, Bon, born at Paris (16407-1717). Son of the
preceding. He gained a prize at the Paris Acad., and received a
pension from the king with which to go to Rome, where he re-
mained five years, and then visited other parts of Italy. Louis XIV.
employed him at Versailles, where he worked under Le Brun. He
also painted in several churches in Paris. He excelled in Pastici, or
the imitation of other artists, without being actually a copyist. He
left several etchings.
Boullongne, Louis, the Younger, born at Paris; died 1734. Son
of Louis the Elder. Having taken a prize, was sent to Rome. On
his return was made painter to Louis XIV., and was employed at
Fontainebleau and in the Chateau of Meudon. Some of his best
works are in Notre Dame. His pictures are correct in drawing,
vigorous in color, and his heads have character and expression. He
used the point also, and left eight etchings of religious subjects.
Bouman, P., born at Dort, about 1 764. A painter of landscapes
and similar subjects whose works are much esteemed.
Bourdon, Sebastian, born at Montpelier (1616-1671). After
studying in Italy, he established his reputation by a picture of the
" Crucifixion of S. Peter," now in the Louvre; he was one of the
original twelve anciens of the Acad.; he went to Sweden for several
years, but returned to Paris, and was Rector of the Acad. of Painting
when he died. His landscapes were his best works, and resembled
those of Salvator Rosa. He also painted a few genre pictures, and
two portraits of himself, which are in the Louvre, in one of which
9
130 BOURDON BOYDELL.
he was assisted by Rigaud. The National Gall, has a fine picture
by Bourdon. He was skilful in handling the point, and his plates
are valued by collectors.
Bourgeois, Sir Francis, born in London (1756-1811). His
familv were Swiss. Pupil of De Loutherbourg, whom he did not
perfectly imitate. He was a close student of nature, ami painted
very exactly from his subjects. This is especially seen in his half-
dead trees and gnarled roots. His cottages are very good, similar to
those of Barker, and his pastoral scenes well arranged. His gypsies.
cattle, etc., are grouped in the manner of Gainsborough. He was
invited to Poland, and although he did not accept the invitation.
was appointed painter to the king, and made a knight of the Order
of Merit. He was a friend of Mr. Desenfans, who bequeathed him
valuable paintings, which he gave at his death to Dulwich College.
Bousseau, Jacques, born at Chavaignes-en-Poitou, 1671; died at
Madrid, 1740. Pupil of Nicolas Couston. He rapidly rose to the
rank of professor of sculpture in the Royal Acad. There are several
statues by him in the Cath. of Notre Dame; and he executed the
grand altar of the Cath. at Rouen, and the Tomb of Cardinal
Dubois in S. Honore. He was invited to Spain and appointed
principal sculptor to the king. He lived many years at Madrid, and
executed several fine works.
Bout, Pieter and Nicholas, or Anton Frans Boudewyns.
Natives of Brussels who flourished about 1700. They executed to-
gether a great number of pictures which are midway between land-
scapes and genre subjects. Boudewyns painted the landscapes, and
Bout the figures, which were generally about an inch and a half
high, dressed in gay colors, and full of character. Their compo-
sitions were small, the skies bright, and the colors, which were doubt-
less brilliant at first, are now dark and brown, especially in the
landscapes. Bout also painted alone, and chose fairs, Flemish wakes.
merry-makings on the ice, etc., for his subjects. In the Dresden
Gall, there are six pictures by these artists, and at Vienna, two.
Boydell, John, called Alderman Boydell, born at Darrington
(1719-1*01). An engraver, and pupil of Toms. lie deser\es
especial praise for what he did for art. He not only so raised tin-
works of British engravers that they were sought by all Europe, but
he undertook the illustration of Shakespeare, by plates from pictures
painted by English artists. In his efforts he spent 350,000, and
in 1789 his Shakespeare Gall, was opened to the public. There
were 170 pictures, all by English painters. In 1 SM,~> it was necessary
to dispose of these, on account of the pecuniary embarrassment
which had resulted from his endeavors to relieve the artists of his
own country, from the rivalry of others. They were sold by lottery.
By the plates which he published, he also gave much employment to
engravers. Boydell was, in addition to all this, a designer and painter
BOYDELL BRAMANTE. 131
in water-colors, and made a good sketch of the interior of his Gall.,
which is now known as the British Institution. In 1774 he was
elected alderman, and in 1791 held the high office of lord mayor.
In 1789 at the dinner of the Royal Acad., Sir Joshua Reynolds pro-
posed his health as " The commercial Maecenas of England." The
company, including the Prince of Wales, joined heartily in the
toast.
Braccioli, Gio. Francesco, born at Ferrara (1698-1762). His
works were done for the churches and convents of his native city.
Brakenburg, Regnier, born at Haerlem (1650-1702). Pupil of
Hendrik Mommers. He represented scenes from low life, usually in
the open air. He resembles Adrian van Ostade in color. His
greatest fault is his incorrect drawing of the figure. He had great
facility in execution, and understood chiaro-scuro; his pictures
appear to be highly finished. At Windsor Castle there are two
pictures of the Studios of Artists, by Brakenburg. His works are
in the galleries of Berlin and Vienna.
Bramante d'Urbino. The real name of this great architect was
Donato Lomazzo. The place and time of his birth are disputed, but
his family were of Castel Durante in the Duchy of Urbino, anil he
died in 1514, about seventy years old. He first studied painting,
and executed portraits and other subjects in a style resembling that
of Andrea Mantegna. A few of his frescoes remain in Milan and
Pavia. But it is as an architect that he was important. He was
employed on the following works in Rome: the cloister of the monks
delta Pace; the fountain of Trastevcre; a large portion of the
Palazzo della Cancellaria; the arrangement of the space between
the Vatican and the Belvedere; and the Basilica of S. Peter. He
was appointed pontifical architect by Alexander VI. and Julius II.
After his death the plan of S. Peter's was changed and the only
remnants of his workmanship are the four great arches, supporting
the tower of the dome. At first his style was cold and stiff, but it
became majestic and elegant. He had great fertility of invention
and undoubted genius. The work on S. Peter's advanced with
wonderful rapidity under his superintendence. He had little regard
for the works of antiquity, and his destruction of some such at Rome
was notorious. He was a bitter opponent of Michael Angelo, both
for himself and on account of Raphael, who was his nephew, and for
whom he was jealous of Buonarotti as a painter, as he was for him-
self as an architect. The dislike of Michael Angelo for Bramante
was also most cordial, and at one time they had a violent scene in
the presence of the Pope. Julius appreciated them all, and retained
all in his service. In a letter written long after Bramante's death.
Michael Angelo used the following words, which are valuable when
we know the feeling which existed between them: " Bramante was, if
any one deserves the name, one of the most able architects since the
132 BRAMANTE BRAUWER.
days of the ancients. And, as it is evident now, whatever the stand-
ard of beauty, whoever departs from his idea, us Sun Gallo did, de-
parts from the very rules of art." Bramante was interred in S.
Peter's with great honors. In 1756 his writings in prose and verse
were discovered, and published in the coll. of Opusculi, at Lilian.
Bramaiitiiio. Sec Suardi.
Brambilla, Gio. Batista. A Piedmontese painter who flouri-hed
about 1770. He acquired a good reputation. Some of his best
works are in the churches of Turin.
Bramer, Leonhard, born at Delft, it is said, in 1596. Ku<rler
says he has reason to believe that he was born much later. His
works are poor imitations of those of Rembrandt, although, us thev
are very unequal in their excellence, some are well esteemed. No-.
1067, 1068, and 1069, Dresden Gall., are by Bramer. Bryan praises
this artist, and says that his works were much esteemed at Florence
and Venice.
Brauwer or Brower, Adrian, born at Haerlem, 1608; died at
Antwerp, 1640. Pupil of Frank Hals, of whom we are reminded in
his laughing or grinning pictures, such as those of Avuritiu" and
Invidia." Most of his pictures were small interiors, although he
painted some landscapes. It is said that Rubens praised Brower.
and his works are excellent enough to warrant the fact. lie espe-
cially excelled in painting hideous faces. Like Hals lie was dissi-
pated, and in consequence died young. His pictures are sean-e and
valuable. The Munich Gall, has nine. >ix at which are among his
best. No. 1147, Dresden Gall., is by him. He also left a few etch-
ings, full of spirit and character. There are various anecdotes con-
nected with this artist. He was the son of a woman who sold
bonnets and handkerchiefs to the peasants, and it was the deMirns
he drew for these, which brought him to the notice of Hals, who
offered to employ him. When the muster knew the full power of
the pupil, he locked him up by himself, made him work hard, and
sold his paintings for good prices. Adrian van Ostade, another
pupil of Hals, advised Brower to run away. He did so, but the
lart_ r e price he received in Amsterdam for his first picture was a mis-
fortune, for he immediately plunged into dissipation and only worked
when necessity required it. When the States-General were at war
with Spain he attempted to go to Antwerp without a passport. He
was seized and imprisoned in the citadel where the Duke of Arem-
hei"_ r was a captive. Through his interference Brower was furni>hcd
with colors, etc., and made a picture which was shown to Rubens.
He recognized it as the work of Brower, whose fame had preceded
him. and succeeded in getting him liberated. Rubens took him to
his own house, but its order did not please Brower. He went awav.
fell into his disorderly habits, and died in a hospital and was ob-
scurely buried. Rubens hud him removed to the eh. of the Carmelites,
and interred with resju-ct uiwl solemnity.
BREA BREEXBERG. 1 33
Brea, Ludovico, born at Nice. Flourished from 1485 to 1513.
Is considered one of the founders of the Genoese school. Some of
his works remain in the churches of Genoa, and are remarkable for
their freshness. He painted small pictures principally.
Brebiette, Peter, born at Mante, 1596. A painter and engraver,
but best known as the latter. He engraved, in a spirited and
masterly manner, some plates from his own designs, and some after
Italian masters.
Breda, John Van, born at Antwerp (1683-1750). Son of Alex-
ander Van Breda, also an artist, and student of the works of Philip
Wouvermans, which he copied industriously. His pictures became
the fashion ; but he never apppoached the excellence of the master
he imitated. He visited England with Rysbrack, the sculptor.
When Louis XV. visited Antwerp in 1746, he bought four of Breda's
pictures, and his courtiers engaged all he could finish, at good
prices.
Bredael, Jan Peters, born at Antwerp, 1630. Painted landscapes
with figures in the manner of Jan Breughel. He introduced Italian
architecture in his backgrounds. His color is heavy and dark, but
his composition and execution are good.
Bredael, Jan Fraus Van, born at Antwerp (1683-1750). An
inferior imitator of Wouvermans. Nos. 1707 and 1681, Dresden
Gall., are by Bredael.
Bree, Matthew Ignatius Van, born at Antwerp (1773-1839).
Pupil of W. Schalken. He painted large historical subjects, and
acquired a high reputation in Flanders. He Avas first professor at
the Acad. of Fine Arts in Antwerp, and was teacher of some of the
most eminent Flemish painters of his time.
Bree, Philippe Jacques Van, born at Antwerp (1786-1840).
Brother and pupil of Matthew, he also studied at Paris and Rome.
The government of Belgium purchased his view of the interior of
S. Peter's at Rome, and in addition to the price gave him a gold
medal.
Breenberg, Bartholomaeus, born at Utrecht
(1620-1663?). Lived for some years in Italy.
His pictures are mostly small, and he was fond
of painting on copper. Some of his works will
bear to be examined with the glass, and the figures are finished with
delicate dots or touches. He succeeded in his historical subjects.
That of " Joseph selling Bread during the Famine in Egypt," No.
1326, Dresden Gall., is a specimen, and the same subject is repeated
life-size in the Emmaus ch. at Prague. He often enlivened his land-
scapes with groups of figures illustrative of Scripture, mythology, or
Boccaccio. The greatness of this artist was lessened by the cold-
ness of his tones; his drawing, perspective, and execution were good.
His works are in the National Gall., No. 208; Louvre, Nos. 50-55;
134 BBEBNBERG BUE YDBI*
Munich Gall. Cabinets, No. 508, and in the Vicuna Gall. His
etchings were even better than his paintings, and he left thirty-one,
most of which represent Roman ruins in landscapes. These plates
are much esteemed, and good impressions of them an- scarce.
Brekelenkamp or Breckeleiicamp, Quirin Van. Flourished
about 1650. A good painter of home scenes. His best works are
finished with great delicacy. He was a pupil of Gerard Douw, but
his style is a mixture of Rembrandt's with that of his ma.-ter. Hi^
works are much esteemed in Holland, where they are found in the
best collections.
Bresang, Hans. A German engraver who flourished about 1504-
1519. A contemporary of Hans Baldung, and believed by Zani to
be the same artist. His works are mostly wood-cuts; he left but few
copper-plates. The following are attributed to Bresang :
Christ bound to the Pillar, with the cipher, 1504.
The Dead Christ, with the Maries.
The Dead Christ, stretched on a linen, supported by Angels.
Christ and the Apostles, 1519.
The Three Fates; 1513; very scarce.
Breughel, Pieter, the Elder, called Peasant Breughel, born at
Breughel, 1520 (?). Visited Rome. ].V>:: and died at Antwerp.
1569 (?). He represented scenes from peasant life, and was the first
to apply himself especially to those subjects. His mode was coarse,
and sometimes vulgar. He also painted Scriptural sci-no. and >ome-
times incantations and ghosts, like Jerome Bosch. He made skilful
sketches when travelling. He also etched, and there are some
wood-cuts from his designs. The Gall, at Vienna has a line Coll.
of his pictures.
Breughel, Pieter, the Younger, called Hell Breughel, from the
nature of his subjects. Verv inferior to his father. Antwerp Mns..
No. 255. Berlin Mus., No. '721.
Breughel, Jan, called Velvet Breughel, born at Antwerp (1568-
Ui2.'))- The most gifted of his family. He had versatility of talent.
and painted land>capf>. peasants, Scriptural scenes, and hellish or
demoniacal subjects. His coloring was clear and strong, his finish
.rood, and his c fleets of ILdit well arranged. There are number* of
his works in the galleries of Dresden. Munich, and Berlin. We
have four small etchings () f his, marked. ,/. Sm/i-!i-r. exc.
Breukelaar, Henri, Junior, born at Amsterdam (1809-1830).
His work.- are few. but were of great excellence for his a _'(. His
picture of " Van Spyck at the Tomb of De Ruiter" is much admired
by his countrymen.
Breydel, Karel, born at Antwerp KJ77 (?) : died at Ghent.
1744(?). Pupil of Peter Ry>hrack. Painted views on the Rhine,
and military Mibjects. One of his pictures is in the Gall, of the
Duke of Aremberg at Brus.-els.
B1UDELL BUOXKHOUST. 135
Bridell, Frederick Lee, born at Southampton (1831-1863). A
painter of landscapes of great excellence. He painted much in (he
style of Turner's second period. He failed most in his skies. Four
of his pictures were sold at Christie's at prices ranging from 200 to
670 guineas.
Briggs, Henry Perronet, R. A., born at Norfolk, 1792; died at
London, 1844. He painted historical subjects, but at length devoted
himself to portrait painting, in which he had great success. His
chief excellence was in color.
Bril, Matthew, born at Antwerp, 1554; died at Rome, 1580. He
was employed in the Vatican in the time of Gregory XIII., and had
a pension. His early death prevented the perfection of his talents.
Bril, Paul, born at Antwerp, 1556 ; died at Rome, 1626. Brother
of Matthew, whom he joined in Rome, and with whom he studied.
A new era in his branch of art may be dated from the time of this
artist, and he influenced beneficially Rubens, Annibale Caracci, and
Claude Lorraine. He left many works in oil and fresco. After the
death of Matthew, Paul was continued in the Vatican with his
brother's pension. He was much patronized by Clement VIII., and
painted in several Roman churches. For Sixtus V., too, he had done
many works, in the Sistine Chapel, in the Scala Santa, and S. Maria
Maggiore. His "Building of the Tower of Babel," Berlin Mas.,
No. 731, displays his power to represent the fantastic. No. 744,
same Mus., is a fine landscape of his later style. The Louvre has
some of his best works, especially Nos. 67, 71, and 73.
Brinckman, Philip Jerome, born at Spires, 1 709. Pupil of J.
G. Dathan. Painter to the court, and keeper of the Gall, at Mentz.
He painted landscapes, history, and portraits ; in some of the latter
he imitated Rembrandt. He also left some plates etched in a pleas-
ing style, with spirit.
Briosco. See Riccio.
Broederlain, Melchior. An old Flemish painter who flourished
about 1400. There are some very curious works of his in the Mus.
of Dijon. The pictures were on the wings of an altar-chest, and
painted at the command of Philip the Bold. This work combined
painting, sculpture, and architecture. The carving was done by
Jacques de la Bnerse. A description of it would require too much
space, but it is very interesting in its relation to the art of its time,
of which we have comparatively few such examples.
Brompton, Richard, died 1 790. Pupil of Raphael Mengs and
Benjamin Wilson. The Earl of Northampton was his patron, and
took him to Venice when ambassador to that republic. After his
return to England, Brompton did not receive the encouragement
which he desired, and went to St. Petersburgh, where he was well
received and fully employed as long as he lived.
Bronkhorst, John Van, born at Utrecht (1603-1680?). He was
136 BROXKHORST BRUN.
first a painter on glass, and studied under John Verburg. He exe-
cuted the fine windows in the new ch. at Amsterdam. AVhen thirtv-
six years old he became acquainted with Cornelius Poelemberg, and
abandoned glass painting. He did some pictures in imitation of
Poelemberg, which were much admired, and also etched landscapes
from his own designs and those of Poelemberg.
Bronkhorat, Peter Van, born at Delft (1588-1661). Excelled in
painting interiors, into which he was accustomed to introduce Croups
of small figures illustrating historical subjects. In the town-hon-e
at Delft there are two of these works, large, and representing the
" Judgment of Solomon," and " Christ driving the lloney-changen
from the Temple."
Bronzino, Angiolo, born at Monticelli, 1502; died at Florence,
1572. Pupil of Pontormo, friend of Vasari, and the devoted ad-
mirer of Michael Angelo. His works were very unequal, and some-
times almost disgusting from their bad taste, but he had remarkable
ability in drawing and painting. He was employed in many impor-
tant works, and after the death of Pontormo, finished the Chapel of
S. Lorenzo at Florence. His frescoes which remain are much in-
jured, but he was most important as a portrait painter, and painted
many illustrious persons of his time. His portraits have green hack-
grounds, and in style might be called Italian Holbeins. He was
fond of rich garments, furs, etc., but managed them so as not to
interfere with the dignity of the portrait. He was much in the
habit of throwing a strong light and a golden tone on the face, while
he kept the rest dark. In the Berlin Mus. is his portrait of Bianca
Capella, and others. In the National Gall, are " Sensual Love."
and a "Knight of S. Stephen." His most celebrated oil picture is
the " Limbo," in the Uffizi. The larger part of his works are in
Florence and Pisa, although there are a few of his pictures in most
large collections in Europe.
Brown, Mather, died 1810. A portrait painter who was well
patronized by English families of distinction. His works are not
above mediocrity. He sometimes painted historical subjects; one
of these, the "Marriage of Henry VII.," was sold in 1S28 for
21.
Browne, John, born at Oxford, 1719. An eminent engraver
of landscapes. He copied the works of great masters, and his plates
were executed in a masterly manner.
Bruges, John of. An old painter of 1371. lie was patronized
by Charles V. of France, for whom he decorated a translation of
the Vulgate, now in the \Vestrenen Mus. at the Ha^ue. He is
<leM'_ r nated as "Pictor." which would indicate that he executed
larger works, as " Illuminator " was the title used for the miniature
painters.
Brim, Charles Le, born at Paris (1(3 19-1690). Son of a sculptor
BRUN BRUNELLESCHI. 137
who was employed by Chancellor Seguier, he attracted the attention
of that nobleman, who placed him under the instruction of Simon
Vouet. When only fifteen ho painted his picture of " Hercules
destroying the Horses of Diomedes." When he was twenty-two his
patron sent him to Italy and recommended him to Nicolas Poussin.
He spent six years in Italy and returned to Paris with but one com-
petitor to fear, Le Sueur. Le Brun, from the favor of the chancellor,
became the favorite of the court, and was employed in large and
important public works. He was made painter to the king and
received the Order of S. Michael. He used his opportunities for a
good purpose; no less a one than that of persuading his patrons
and the king to the founding of the Royal Acad. at Paris in 1648.
His pictures of the battles, etc., of Alexander rendered him very
famous in his own country. He was especially successful in his
pictures of the Holy Family. He could paint a round arm, a bit
of delicate lace, or express a dimple wonderfully well. He succeeded
as a portrait painter. In the Louvre there are twenty-six pic-
tures by Le Brun, including the battles of Alexander. In Notre
Dame, his " Stoning of S. Stephen," and " Martyrdom of S. An-
drew."
Brunelleschi, Filippo, born at Florence (1377-1446). A great
architect. He may be called the father of the Renaissance. His
father, Filippo Lapi, intended him for a lawyer or physician, but his
love for mechanical pursuits was so great that he was placed with a
goldsmith. He gradually came to be an architect, and was the first
Florentine who applied geometrical rules to that branch of art,
according to the usage of the ancient Greeks. Masaccio and Bene-
detto da Majano profited by his example in the application of the
rules of perspective to their pictures and mosaics. It is said that
Brunelleschi spent much time in Rome studying the remains of
ancient architecture and making drawings from them. In 1420
the Signoria of Florence called together the architects of all coun-
tries, to consider the completion of the dome of the Cathedral. Bru-
nelleschi presented himself, armed with well-digested plans, and,
although sneered at, and opposed, the work was at length committed
to him. He completed it, and, in spite of great trials and hindrances
of every possible kind, he produced one of the greatest and boldest
masterpieces of the world in any age. The ch. of S. Lorenzo (1425)
is a specimen of his designs, where he commenced from the begin-
ning: and the Capella Pazzi, in the courts of Santa Croce, is a proof of
his ability to design the graceful and elegant. The Badia of Fiesole,
and the Hospital of the Innocenti, are also fine. In secular archi-
tecture he excelled, as may be seen in the Palazzo Pitti, which has
not been surpassed, but has served as a model to the present day.
Grimm says: "As an architect, he was not exactly the originator of
the new style which supplanted the Gothic ; but he was certainly the
138 BRUNELLESCHI BRUYN.
master who, by his great power, stamped its superiority as a fact."
Brunelleschi was also a sculptor and a worker in bronze. It is said
that at one time Donatello had made a crucifix for the ch. of Santa
Crocc with great care, and yet, when he showed it to Brunelleschi,
the latter did not express his admiration. Donatello bcgir-'d him to
tell him his real thought of it. Bruncllochi replied that the figure on
the cross was like a day-laborer, whereas Christ was of the greatest
possible beauty. Donatello answered: " It is easier to criticise than
to execute; do you take a piece of wood and make a better crucifix."
Brunelleschi proceeded to the work, and when it was done invited
Donatello to dine with him. He had placed the crucifix in a con-
spicuous place in his house, and after buying various eatables he
gave them to Donatello, and asked him to go on to his house, where
he would soon join him. When Donatello entered he saw the
carving, and was so overcome with admiration that he allowed the
parcels of eggs, cheese, etc., to fall on the floor. When Brunelleschi
came and found him still standing before it he said: "Yon have
spoiled everything; on what are we now to dine? " " I." answered
Donatello, "have had quite dinner enough for this day. You, per-
haps, may dine with better appetite. To you, I confess, belongs
the power of carving the figure of Christ; to me, that of represent ing
day-laborers." This crucifix is now on the altar in the Chapel of
the OJondi.
Brussel, Paul Theodore Van, born at Zuid, Polsbrock ; died
early in the present century. One of the best fruit and flower
painters of his time. He studied under Jean Augustine and II.
Meyer, and was first employed in a tapestry manufactory. His
latest works are much the best, and are found in the finest, collec-
tions.
Bruyn or Bruin, Abraham, born
at Antwerp. 1">I<>. An engraver,
I A j and one of the little masters. His
portraits and small friezes of hunting and hawking are his best works,
and are esteemed for their neatness. He worked with the graver
only.
Bruyn or Bruin, Nicholas, born at Ant-
|\.t< /\ [ L/\ werp, l.">7(). Son of the preceding, under
1 XlX 1 W> \JJ whom lie studied. He is an imitator of
Lucas von Leyden. His plates possess con-
siderable merit for the times in which he worked.
Bruyn, Bartholomew de, flourished at Cologne from l.VJo to
1 .')<;<>. Hi' executed the wings of the lar^e shrine on the hi^h-altar
of the ch. at Xanten in !.">:! I. His portraits, No. .~>ss, Berlin Mns..
and one in the Cologne Mils., painted I."). 1 ;."), so much resemble those
of Holbein as to be. generally attributed to him. Xos. 1 1_>, I l.'l, and
114, Munich Gall., representing the "Descent from the Cross,' 3
BRUYN BUGIAKDINI. 13<)
with wings, is a good work. Berlin Mus., No. 639, is a work of his
later time, in which he deteriorated; it is a "Madonna and Child,"
adored by the Duke of Cleves. He attempted in his last works
to adopt an Italian style, greatly to his disadvantage. Some of these
pictures are in the Cologne and Munich galleries, and are often
attributed to Martin Van Hemskcrk.
Bry or Brie, Theodore de, born at Liege, 1528 ; died at Frank-
fort, 1598. An eminent engraver. He imitated Sebald Beham.
He worked almost entirely with the graver. His style was neat and
free, and especially suited to subjects in which there are many
figures, such as he frequently chose. He gave great spirit and ex-
pression to his heads. He engraved the plates for the first four
volumes of Boissard's "Roman Antiquities;" the two others were
finished by his sons, John Theodore and John Israel. In Frankfort
Bry was a print and book seller.
Bucklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts-
zen. whom he imitated closely. His kitchen and market scenes were
very popular. " Christ before Pilate," No. 78, Munich Gall., is by
Bucklaer.
Buffalmacco, real name Buonamico Christofani. Vasari says he
was born in 1262 and died in 1340; that he was a pupil of Andrea
Tafi : and Ghiberti bears out his statement that he was an excellent
painter and able to outdo all others when he set his mind to it.
Vasari' s account of him is very interesting. He seems to have been
rlu- wit and practical joker among the artists of his day. His fame
has outlasted his works, for it is a matter of great doubt if any of
these remain. Kugler says his existence is doubtful, and his life by
Vasari a mere tissue of whimsical stories. Lord Lindsay, in his
' Sketches of the History of Christian Art," says: " A merry wag,
a careless spendthrift, living for the day without a thought of the
morrow, and (as the phrase is) ' nobody's enemy but his own,' he
drained the cup of pleasure to the lees and found misery at the bot-
tom, dying, at the age of seventy-eight, a beggar, in the Misericordia,
without a paul in his pocket to buy a coffin for his corpse or a
mass for his soul, the type and mirror of a whole class of artists,
whose follies and vagaries throw discredit on genius, while a certain
kindliness of heart renders it impossible not to pity while we blame
them."
Bugiardini, Giuliano, born near Florence (1471-1554). Pupil
of Mariotto Albertinelli. Michael Angelo formed a friendship for
him in the gardens of S. Marco, and he is one of those whom the
groat master attempted to employ as assistants in the Sistinc Chapel.
Bogiardini worked so long in an humble capacity, copying the
drawings of others on panels, that Avhen he came to work indepen-
dently his powers of composition were dwarfed, and he could only
master the simplest subjects. He sometimes seemed to imitate
1 40 BUGIARDINI BUONAROTTI.
Leonardo. His portraits were as good as any of his works, and it is
said Michael Angelo once sat to him. The. Portrait is supposed
to be in the Louvre, No. 526. Many of his works remain. The fol-
lowing are some of them: Uffizi, No. 220; Leipzig Mas.. Xo. 143;
Bologna Pinacoteca, No. 26; Berlin Mus., Nos. 248 and 28.3, etc.
There are many of his panels in Bologna; in the Colonna Pal.,
Rome, there arc some, and a few in England, besides many in Italy
not mentioned.
Bolster, Philip, born at Brussels (1595-1688). After studying
in his native city he went to Paris, where he was somewhat distin-
guished. He executed several sculptures for the park at Versailles.
and the tomb of Cardinal De Rochefoucauld. This last was his
principal work, and has been placed in the Musee des Monuments
Francais.
Bullinger, John Balthasar, born at Zurich (1713-1793). Pupil
of John Simler, and later at Venice he studied with Tiepolo. He
became an eminent landscape painter. He spent some time in Am-
sterdam, and studied the best works there. He also executed several
plates of considerable merit.
Bunel, Jacques, born at Blois, 1558. Studied under Federigo
Zucchero at Rome. One of the best French painters of his time.
Some of his best works were for the churches of Paris.
Buonacorsi. See Vaga.
Buonamici. See Tassi.
Buonarotti, Michael Angelo, born in the castle of Caprese,
March 6, 1475. His father was Ludovico Buonarotti, and his homo
was in Florence, but at the time of the birth of this son he held the
office of podesta or governor of the towns of Caprese and Chiusi.
His mother, also of good family, was called Francesca; and his
grandmother, so well known as Madonna Alexandra, was still living
at the time of his birth. When Ludovico Buonarotti returned to
Florence, the child, Michael Angelo, was left at Sctiignano, upon
an estate belonging to his family. His nurse was the wife of a stone-
mason, and, for many years, pictures were shown on the walls of
the house in which he had grown up which he had drawn as soon as
he could use his hands. At the proper age he was placed in a
grammar-school at Florence, where he became acquainted with
Francesco Granacci, a noble youth, five years older than himself,
and a pupil of Ghirlandajo. (Iranacci became his most intimate
friend. Ludovico had desired this son to be a scholar, and, to-
gether with his uncles, harshly opposed his inclination to become an
artist. But Michael Angelo was so determined that lie carried his
point, and, in 1488, was engaged to the Ghirlandaji for three years.
At this time Domenico Ghirlandajo, who was one of the liest mas-
ters of Florence, was engaged in the restoration of the Choir of S.
Maria Novella. Michael Angelo came, therefore, at the first, into
BUONAROTTI. 141
the midst of great work. One day at the dinner hour Michael
Angelo drew a picture of the scaffolding and all that belonged to it,
with the painters at work on it. When Domenico saw the paper
he was so astonished that he exclaimed, " He understands more than
1 do myself." His rapid progress soon excited the jealousy, not
only of his fellow-pupils, but of Ghirlandajo himself. Michael
Angelo's first picture was an enlarged copy of Schongauer's plate
of the " Temptation of S. Anthony." This plate is well known. In
order to perfect himself in the representation of the fishy parts he
constantly visited the fish-market, and made drawings there. He
produced an excellent work, of which Ghirlandajo claimed the
merit, as it was painted in his atelier. This picture is said to still
exist in the Gall, of the Bianconi family at Bologna. Others believe
that it is in the possession of M. de Triqueti, at Paris. The scholar
soon proved that he knew more than his master, for it was the cus-
tom for the pupils to copy the drawings which Ghirlandajo had made.
Michael Angelo, one day, took one of these from the hands of a
fellow-pupil, and with thick strokes corrected the lines of the master,
in a manner which could not be objected to; after this he was
refused the plates when he asked for them. About this time Michael
Angelo made the acquaintance of Lorenzo del Medici, then at the
head of the government in Florence, and admittance was soon
obtained for himself and Granacci to the gardens of S. Marco. In
these gardens the art-treasures of the Medici were placed. There
works of sculpture were arranged, and cartoons and pictures were
hung, in buildings erected for the purpose. Numbers of young
people were instructed there, and the old sculptor Bertoldo was their
master. Michael Angelo's attention was now diverted from painting,
and, making friends with the stone-masons, he obtained a piece of
marble and some instruments. He first copied the mask of a Faun,
but did not adhere closely to the original, for he opened its mouth
so much, that the teeth could be seen. When Lorenzo visited the
garden he praised Michael Angelo, but he also said, " You have made
your Faun so old, and yet you have left him all his teeth ; you should
have known that, at such an advanced age, there are generally some
wanting." The next time he came, he found a gap in the teeth of
the Faun, so well done that he was delighted with the work. (Now
in the Uffizi Gall.) He sent immediately for the father of Michael
Angelo. Ludovico, who had felt it a sufficient trial that his son
would be a painter, was in despair at the thought that he might
become a stone-mason. He refused to see the Duke. Granacci at
length prevailed upon him to go to Lorenzo, but it was with the
determination to agree to nothing. The manner of Lorenzo soon
overcame him, and he returned home declaring that not only his
son, but he himself, and all that he had, was at the service of the
Duke. Michael Angelo was at once taken into the palace ; he was
142 BUONAROTTI.
properly clothed, and had an allowance of five ducats a month for
pocket-money. It was the custom of the Duke to give each day ;;n
entertainment. lie himself took the head of the table. Whoever
came first sat next him, and it often happened that Michael Angelo
had this place. He was beloved by all the household, and Lorenzo
often sent for him to show him stones, coins, and other valuable
things, and to talk with him of his own studies. Poliziano also
advised him, and gave him the marble for his bas-relief of the
'Battle of Hercules with the Centaurs." This work surprised
every one, and is still to be seen in the palace of the Buonarotti
family. Bertoldo, for his part, instructed him in casting in bronze.
He executed a "Madonna" in the style of Donatello, and made
drawings in the Brancacci chapel after the works of Filippo Lippi.
Life in Florence, at this time, was almost the perfection of life.
" Whatever great things happened in the world were known, dis-
cussed, and estimated there. What was indifferent was crushed
under the abundance of what was excellent. Excellence itself was
not blindly accepted according to outward signs, but it was tested
by understanding before it was admired. Stirring social life mingled
uninterruptedly with the most serious tasks, and, as a wholesome
contrast to the sweetness of this existence, came the keen, critical
judgment of the Florentine public, who allowed themselves neither
to be deceived nor bribed in matters of culture. This state of societv
was only to be met with in Florence, and chained the Florentines
to their native city, where alone they found the true, healthful recog-
nition of their own refined minds.'' Loren/o was the head of
Florence, and Florence the head of art, poetry, philosophy, and
religious movements. Thus, in the house of the Medici, Michael
Angelo, when his mind was pliant, and his character still to In-
formed, received an education than which, for an artist, none could
have been better: and, at that time, among the Romanic nations.
young people were free from the embarrassment which often attends
that age, and were accustomed to conduct themselves with ease
under all circumstances, knowing nothing of the awkward, silent
manner of the youth of more northern nations. The morals of
Florentine society were as low as its cultivation was high, and in the
same year in which Michael Angelo was admitted to the palace.
Savonarola came to preach his crusade against the crimes of this
wonderful city, and in the Lent of 1 192 Loren/o became suddenly
ill. It was at this time that the eflect of the preaching of Savonarola
had reached its height, and even the great Duke felt that lie could
not die until he had seen this mighty preacher. It is probable, that
Michael Angelo was one of those who surrounded the bed of Loren/o
in his last hours. lie was astounded by the death of his patron.
He left the palace and arranged an atelier for himself in his father's
house. At this time he executed a " Hercules " which is now lost.
BUONAKOTTI. 1 1-3
After a time he was taken again by Piero Medici into the palace,
his old rooms were assigned to him, and he was received at his table.
But Florence was no longer what it had been, and before long
Michael Angelo, in the midst of political troubles, made his escape
to Venice. There he met Gianfrancesco Aldovrandi, the head of a
noble house of Bologna, who. when he heard that Michael Angelo
was a sculptor, invited him to that city, lie remained there nearly
a year, during which time he executed the figures on a sarcophagus
which contains the bones of S. Domenico in the ch. of S. Petronio.
Tliis commission, given to a foreign artist, but twenty years of age,
so aroused the hatred of the Bolognese artists, that they threatened
vengeance on him. Michael Angelo returned to Florence. Dur-
ing his absence everything had been changed. The name of the
Medici was only heard coupled with curses. The pictures and
statues of the garden of S. Marco had been scattered over the world.
Many artists had left, and those who remained were struggling to
decide whether their exquisite works were the results of a God-given
genius or of the power of the Devil. Michael Angelo was depressed
by all this, but Florence was his home. He prepared to remain
there, and again found a Medici, called Lorenzo also, who became
his patron. He was one who, having been persecuted by Piero, had
fled to France, and returned in the train of Charles VIII. Condivi
says that at this time Michael Angelo worked upon some statues
for Lorenzo, and also executed for himself a Cupid in marble.
This statue led him in an unexpected manner to Rome, for, when it
was finished, Lorenzo advised him to give it the appearance of an
antique, and said he would himself send it to Rome, and obtain a
large price for it. Michael Angelo did this and received thirty
ducats. The secret of its origin, however, was not kept. The
Cardinal who had purchased it sent a nobleman of his household
to Florence, to investigate the matter. This man pretended to be
in need of a sculptor, and invited Michael Angelo, among others, to
visit him. He came, and when asked what work he had done,
enumerated among others a " Sleeping Cupid." It was now ex-
plained to him that in place of the thirty ducats which he had
received, the Cardinal had paid two hundred for the work.
Finding himself deceived, as well as a deceiver, he went with the
nobleman to Rome. The latter promised to receive him into his
own house, and assured him that he would find a large field for his
labor, and one in which much money could be obtained. The oldest
writing in the hand of Michael Angelo is the letter which he wrote
to inform Lorenzo del Medici of his arrival in Rome. At this time
he was twenty-one years old. In this letter he speaks of the beau-
tiful things he has seen, but what these were we can scarcely tell,
for the Rome of that day was not the city which we know. The
first important work which he executed in Rome was the statue of
144 BUONAROTTI.
the " Drunken Bacchus," now in the Uffizi Gall. It was executed
for Jacopo Galli, for whom he also made the Cupid now in the
Kensington Mus. But the work by which he passed from the
standing of a good artist, to that of the most famous sculptor in
Italy, was "La Pietk. " It is almost impossible to judge of this
where it now stands, in a chapel of S. Peter's. It is placed so high,
and the light is so bad, that no satisfactory judgment of it can In-
formed. But Condivi says that from the time it was fini.-hed lie
was the first master in the world. This was done when he was
twenty-four years old. In the same year, or the following one, he
returned to Florence. During his absence other great changes had
taken place. Florence had joined with Venice, and matters seemed
to be prosperous. Michael Angelo's first work after his return was
a ' Madonna," now in the ch. of Notre Dame at Bruges. It is life
size, and one of his finest works. Another work of this period is a
painting now in the Tribune at Florence, representing the " Holy
Family." There was in Florence, at this time, an immense block
of marble, which had been intended for a statue of a Prophet, to
be placed outside the dome of S. Maria del Fiore. It had lain
many years in the court-yard of the work-shops of the Cathedral.
It had been offered to Donatello, but neither he nor any other
sculptor had wished to undertake to make anything of it. Now
Sansovino, lately returned from Portugal to Florence, desired to
have this marble, and intended to join other pieces to it. The
consuls would not consent until they had asked Michael Angelo if
he would not make something good out of the block. He had just
undertaken to execute fifteen marble statues for the funeral vault
of the Piccolomini family in Siena. But when he saw the magnifi-
cent block at Florence he left the work for Siena, and declared him-
self ready to undertake it without any addition. Accordingly the
order was issued on the 16th of August, 1501. He was allowed two
years for his work, and was to receive six gold florins a month,
while the additional sum to be paid was left to the decision of those
who had ordered the statue when it should be finished. On Mon-
day the 13th of September, furnished with a little wax model which
he had moulded, now in the Uffizi, very early in the morning, lie
commenced his work. From first to last he executed the entire
work, and in February, 1503, it was half completed. In the
mean time another important political movement had taken place,
which had thrown another work in the hands of Michael Angelo,
for the Kepublie had received additional favors from France, on
account of which they felt obliged to comply with the request of
the Duke de Nemours, to have a bronze copy of the " David," by
Donatello, which stood in the court of the Palace of the Government,
and in the summer of 1502, Michael Angelo undertook the work.
One hindrance after another prevented its completion for years, and
BUONAROTTI. 145
when it was finished it was presented to another French noble, and
at the present day nothing is known of it. In the spring of 1503 he
also contracted with the consuls of the wool-weavers guild for twelve
Apostles, each eight and a half feet high. It had been found by
this time that the master was not to be depended on, in regard to
the time when his work should be finished. Therefore it was stipu-
lated that one Apostle should be finished every year; that he should
go himself to Carrara and choose the blocks, at the expense of the
consuls; and that the price to be paid for the statue should be
settled by arbitration. They also completed an atelier especially
for him ; and on the completion of each statue he was to receive a
twelfth part of this house; so that, when the whole were done, it
should fall entirely into his possession. Although no contract could
have been more promising, nothing was ever accomplished but the
coarse sketch of Matthias, now in the court of the Acad. in Florence.
With regard to the " David, ",he was enthusiastic, and so devoted to
his work, that at the beginning of 1504 it was done. A meeting
was called of the first artists of Florence, to consider where it
should be placed. They met in the atelier before the statue, un-
veiled for the first time. After much discussion, it was decided that
the statue should stand wherever Michael Angelo himself desired.
He chose the place next the gate of the palace, where the " Judith "
of Donatello then stood. The statue weighed 18,000 pounds. The
scaffolding to remove it was devised by Cronaca, and consisted of
a wooden frame-work within which the statue was suspended. The
whole thing was laid upon oiled beams and drawn along by pulleys.
On the 14th of May, at evening, the wall of the atelier was broken
down, and the statue drawn into the open air. It took three days
to move it, and during the night a watch was required, because
stones were thrown at it, and there seemed to be a determination to
destroy the work. Even the watch was attacked, and eight persons
were arrested and thrown into prison. On the 18th of May it was
successfully lodged in its place. The question of its removal has
sometimes arisen because it has been thought that it should be pre-
served by having a roof over it. But the Florentines consider it a
good genius of their city, and would regard its removal as an evil
omen. Grimm says, " The erection of this David was like an occur-
rence in nature from which people are accustomed to reckon. We
find events dated so many years after the erection of the Giant. It
was mentioned in records in which there was not a line besides respect-
ing art." At this time the rivalry between Michael Angelo and Leo-
nardo da Vinci commenced. Nothing could be more dissimilar than
these two men. Michael Angelo was so temperate that he truly
said of himself in his old age, " Rich as I am, I have always lived
like a poor man." Leonardo loved to surround himself with lux-
ury. Michael Angelo was bitter, ironical, and inclined to solitude.
10
146 BUONAROTTI.
Although unwilling to injure the feelings of others, and even gentle
in some aspects of his character, he was determined to be acknowl-
edged as the first where he felt it to be due to him. and in matters of
art would allow none to interfere with his rights. Leonardo loved
admiration, and kept a retinue of flatterers about him. He was not
less self-willed, but seemed to play with his talents, and to seek for
something which would entice him to exert his powers. In personal
appearance Leonardo was very handsome. His fine and expressive
eyes and magnificent beard gave him an imposing presence. The
head of Michael Angelo was broad, with projecting forehead, while
the lower part of his face seemed too small for the upper portion.
His eyes were small and light, and his nose, which hail been crushed
bv Torri<nano in the garde us of the Medici, seriouslv disfigured him.
J
It has been said concerning this occurrence that Michael Angelo
provoked him, but others regarded it as the result of mere envy.
Torrigiano fled from Florence, for Michael Angelo was carried home
for dead. In February, 1504, Leonardo had received the order to
paint one wall of the hall of the Consiglio Grande. In spite of the
fact that he had painted almost nothing. Michael Angelo deter-
mined to compete with Leonardo, and secure the commission for the
second wall. It was in this year that Raphael, attracted, it is >aid,
by what he had heard of Leonardo and Michael Angelo, came to
Florence. Thus the three greatest artists of modern times were,
met together. Rooms were assigned to Michael Angelo and Leo-
nardo in which to prepare their cartoons, but in the midst of his
work, the former Avas summoned by Julius II. to Rome. This was
probably at the beginning of 1505. The Pope's attention had been
called to Michael Angelo by Giuliano di Sangallo. But although he
had commanded him with haste, it was some time before Julius gave
him his first commission. This was for a colossal mausoleum to be
built for himself. Michael Angelo sketched a design. Julius ap-
proved it, and the Pope commanded him to select a place for its
erection in the Basilica of S. Peter. A new Tribune bad been com-
menced, and he advised that it should be finished and the monument
placed within it. The order was given to Sangallo. and Michael
Angelo sent to Carrara to secure the marble for his great work.
After many difficulties the marble was brought to the square and
the whole city was amazed at the blocks. The Pope was delighted,
and had a passage made by which he could pass from the palace to
the atelier of the sculptor without bein^ seen. Just at this time, in
1506, the "Laocoon" was found and occupied the minds of all Home.
Michael Angelo was now considered the first sculptor in Home, and
other artists be^an to be jealous of him. During his second absence
in Carrara. Bramante influenced the I 'ope against him. and declared
it to be an evil omen for him to build his tomb while living. It had
been the custom for Michael Angelo to be admitted, unannounced,
BUONAKOTTI. 147
to the Pope at any time. He now found a change. His new marble
had arrived, also the workmen whom he had hired in Florence. The
Pope urged him no longer, neither would he give him money which
he greatly needed. The master determined to understand matters,
and to enter the palace. He was refused admission, and told by the
servant that he had express commands that he should not come in.
He went home, and wrote thus to the Pope: " Most Holy Father, I
was this morning driven from the palace by the order of your Holi-
ness. If you require me in future, you can seek me elsewhere than
in Rome." He gave this letter to the cup-bearer of the Pope. He
commanded one of his workmen to find a Jew to sell all he possessed,
and to follow him with the money to Florence, while he mounted his
horse, and rode without stopping until he was on Florentine ground.
The Pope sent quickly for him, and commanded that he should be
brought back by force. But he was a Florentine citizen, and he
threatened to have the messengers slaughtered if they touched him.
They used every means to induce him to return, but he replied that
he would neither return then, nor ever; that he had not deserved to
be treated as a criminal; that he considered himself released from
his former engagements with his Holiness, and that he would make
no others. When he reached Florence he returned to his work upon
the cartoon. The Pope immediately wrote to the Signiory, urginn-
the return of Michael Angelo, and promising that he should be
received into full favor. But the master doubted the truth of the
Pope, and waited until another letter came. Then the gonfalonier
sent for him and insisted that he should return to Rome, saying,
" You have treated the Pope in a manner such as the King of France
would not have done," and declaring that they would not risk a war,
and the safety of the state, on his account. Michael Angelo, mean-
time, had received offers from the Sultan to go to Constantinople,
and was inclined to accept. A third letter came from Julius, and at
last it was arranged that lie should go in the capacity of an am-
bassador, for then he would be protected by the Florentine Republic.
Just at this time, however, Julius left Rome to begin a war, during
which Michael Angelo completed his cartoon in Florence. Tt was
the well-known representation of the "Bathing Soldiers," and fur-
nished studies for a generation of artists, although it was never
painted. There is, at the present day, but a small copy; and an
engraving, by Marc Anton, giving a group of the figures; and another,
by Agostino Veneziano, representing a still larger part of the whole.
As for Leonardo's painting, it had perished before it was finished,
for he had used oils, instead of painting alfresco. He had disagreed
regarding the price that should be paid him, and had entered the
service of the King of France. Michael Angelo remained victor in
this conflict. In November, 1506, upon the taking of Bologna, there
came a letter requesting that Michael Angelo should be sent at once
148 BUONAROTTr.
to the Pope. Arriving at Bologna, he went first to the ch. of S.
Petronio, to hear mass. A servant of the Pope recognized him and
took him immediately to his Holiness. Julius \v;is at table. I nit,
ordered that he should be admitted. When he saw him he could not
entirely control his anger, and said, harshly, " You have waited thus
long, it seems, till we should ourselves come to seek you." Michael
Angelo kneeled down and begged his pardon, but added that he had
remained away from no evil intention, but because he had hern
offended. Julius looked doubtful, and one of tluj ecclesiastics, fear-
ing the result, interposed. He said the Pope must not jud^e the
artist too severely, for that he was, like all of his profession, a man
of no education, and ignorant of everything excepting art. 'Ilie Pope
now turned furiously upon him, exclaiming, " Do you venture to say
things to this man which I would not have said to him myself ?
You are yourself a man of no education, a miserable fellow, and this
he is not; out of my sight with your awkwardness." The poor man
was so stunned that the servants were obliged to carry him from the
hall, and the anger of the Pope being satisfied, he beckoned gra-
ciously to Michael Angelo, and commanded him not to leave Bologna
without his instructions. He soon gave him an order for a colossal
statue in bronze to be erected in Bologna. Some of the letters which
he wrote at this time, now in the British Mus., give much informa-
tion regarding his life. He seems to be the centre of his family, to
be depended upon for advice, and the upholder of all the others.
He said his dwelling was mean, and had but a single bed in it, in
which four people slept. In February, 1~><>7, the Pope saw the.
model and approved it. It was at this time that he left Bologna for
Home. The first cast of the Mat ne failed, and it was not ready to
be placed in its position, before the portal of S. Petronio, until the
21st of February, 1508. The Pope was represented in a sitting
attitude three times as large as life; the ri<j;ht hand was raised, and
in the left were the keys of S. Peter. The work being finished,
Michael Angelo returned to Florence. In considering his more
private life, he seems to have been especially alone. Other artists
shunned him, not only from jealousy, but because they disliked his
reproofs. He asked the son of Francia. a beautiful boy, to tell his
father that his living figures succeeded better than those he put in
his pictures. One reason for this severity was. that he so exalted the
mission of an artist, and so faithfully adhered to his idea of duty,
that he despised those who accepted an order for what they could
not worthily fulfil. He assisted mo.-t cordially those who claimed his
help, and it is possible that, he wounded, without intending it, those
whom he considered unfaithful in their art. At Florence he had
much to do : the cartoon should be painted, the bron/e " David," and
the " Apostles" finished, and it was desired that he should make a
colossal statue for the square, before the Palace of the Government.
BUONAROTTI. 1 49
But Julius summoned him to Rome in March, 1508, and insisted
that he should paint the ceiling of the Sistine Chapel. The task did
not please him. He said he had painted nothing in colors, and must
have other work. But the Pope only became more obstinate* and the
master undertook the work. The first difficulty to be overcome was
the arrangement of a scaffolding. This was done by Michael Angelo
'himself, and then came another obstacle, in the choice of assistants.
After some time he selected a half dozen, and commenced his work.
He soon found that he could not employ them. He had not the
heart to tell them so, and so he went suddenly away, and when they
came to work they found the chapel closed. They understood what
he meant, and returned to Florence. He destroyed all they had
done, and for the future arranged that no one but his color-grinder
and the Pope should come upon the scaffolding. Julius soon became
impatient, and tormented him with his haste. Between the spring
and autumn of 1509, half the ceiling was completed. The Pope
insisted that the scaffolding should come down, and what was done
should be shown to the Romans. In order to ascend the scaffolding
O '
the Pope was obliged to climb on ladders, and to take the hand of
the artist for the last step. He came one day and said, "When
will you come to an end?" " When I can," replied the master.
" You seem indeed desirous," thundered the Pope, "that I should
have you thrown down from this scaffolding." The master took
(he hint, and consented that his work should be shown. Even in
the dust which filled the chapel, when the beams were removed, the
Pope remained, admiring the work; and on All Saint's Day the
whole of Rome crowded there to gaze upon the painting which had
grown like magic. The ceiling of this chapel may be called the
beginning of modern painting. Before this, arched ceilings had
been divided into different compartments, but Michael Angelo ig-
nored the dome; arranged his pictures as if the space were open
above, and built an architecture out into the air, all by means of
perspective delusion; and united the imaginary walls, to which he
had given a magnificent cornice, by airy arches, extending from one
marble breastwork to another. The spaces between the arches were
filled with paintings drawn in perspective. The figures, which only
serve to decorate the architectural part of the painting, are almost
endless. Colossal slaves are seated by the arches at the edge of the
cornice; bronze medallions appear inserted in the marble; figures
like caryatides seem to support the edge of the cornice, etc. There
is not a spot left unpainted. To describe the paintings, or even to
enumerate their subjects, would require more space than we can
allow ourselves. The Creation of the World, of Adam and Eve,
the Expulsion from Paradise, the Sacrifices of Cain and Abel, the
Deluge, Sibyls and Prophets, the Death of Hainan, the Serpent in
the Wilderness, the Death of Goliath, and Judith and Holofernes,
150
BUOXAROTTI.
are but a part of the subjects represented. At this time Michael
Angelo stood alum; in
Rome. Raphael was also
painting in the Vatican,
and they appeared as
the heads of parties.
The Pope was on the side
of Michael Angelo; the
artists flocked around
Raphael. The ditler-
ence between these two
masters was as <rreat as
that 1 iet ween Leonardo
and Michael Angelo.
We can only think of
Raphael as young, beau-
tiful, and happy, with
an inexhaustible power
enabling him to work
always; a power ap-
parently unaffected by
change of time or cir-
cumstance. Michael An-
gelo, on the other hand.
was animated or re-
tarded by the course of
events. He could not
forget the interests of
THE PROPHET ISAIAH. BY M. ANGELO.
From the Sistine Chapel.
his family or those of
his country; and if his
life is considered in its whole, he seems involved in everything of
importance that occurred about him: while the life of Raphael can
be told as a separate tale, scarcely including any but himself, and
the mistress whom he loved. Yet we know that the works which
Raphael produced in Rome are wonderfully above his former ones.
May not the fact that here he was opposed to Michael An'.rr!o have
developed his strength to the utmost ? Branianle, too. now appeared
as an opponent of Michael Angelo. and there were many attempts
made to dislodge the great master from his favor with the Pope, and
his employment in the Sistine Chapel. lie now began the paintings
of the second half, which were the most magnificent of his works.
When the Pope had insisted upon removing the scaffolding, the pic-
tures lacked retouching and gold. Julius now wished these wants to
be supplied, but Michael Angelo dissuaded him from this, from his
anxiety to commence his new works at once. " But it looks so poor,"
objected Julius. "They are only poor people," replied Michael
BUONAKOTTI. 151
Angelo, " whom I have painted there, and did not wear gold on their
garments." This satisfied the Pope, who urged him on as of old, and
would not allow him to go to Florence, although his presence was
necessary there. His bronze " David " was finished by another sculp-
tor, and many other affairs required his attention. At midsummer,
1510, he insisted upon leave of absence. The Pope demanded when
he could be ready, in that case, with his chapel. " When I can,"
replied he. "When I can! When I can!" repeated the Pope
angrily, and struck the artist with his stick. Michael Angelo went
home, and the Pope sent his favorite page after him with money.
His stay in Florence was short, and after his return the painting
went rapidly on ; and the second half of the chapel was finished in
the same time that the first had required, only twenty months
being given to the whole work. Grimm says, " It needed the meet-
ing of these two men ; in the one such perseverance in requiring, and
in the other such power of fulfilling, to produce this monument of
human art." In 1512, another revolution took place by which Flor-
ence came again under the dominion of the Medici. Michael Angelo
was in Rome, but his letters show how much he and his family suf-
fered ; and his father writes him that he is thought to be opposed to
the Medici. His position in Rome was not a happy one. He could
not obtain the money which the Pope owed him, and Raphael's influ-
ence was increased, while his own was lessened. A separation
seemed to have come between himself and the Pope, and he went for
a time to Florence. On the 21st of February, 1513, Julius died.
Almost immediately Michael Angelo resumed his work upon the mau-
soleum. The Pope had mentioned this in his will, and his heirs were
anxious that it should be completed. A new plan and contract were
made. It was at this time that he worked upon the " Moses," and
probably, also, upon the two chained youths now in the Mus. of the
Louvre. For three years he worked continually at the mausoleum.
He resided a part of this time in Florence, but he had been released
from all his engagements there. The twelve Apostles had been dis-
tributed among younger sculptors, and his cartoon had been mali-
ciously destroyed in 1512. Leo X. had succeeded Julius, and the
first matter in which he employed Michael Angelo was in the erection
of a facade to the oh. of S. Lorenzo in Florence. This was a great
work, and he raised many objections against undertaking it; the
principal one being that he was bound by contract to work upon the
mausoleum, and had already received money for it. But the Pope
overcame all difficulties, promised to satisfy his employers, and also
to allow him to go on with the mausoleum ; and, for this purpose,
promised that the marble should be conveyed to Florence at his own
expense, which promise was not fulfilled. During the winter of 1517-
18, while Michael Angelo was breaking up his home in Rome, in order
to remove to Florence, he executed a painting. It is not positively
152 BUONAROTTI.
known what this work was, but there is good reason for bettering
it to have been one from which Sebastian del Piombo painted the
" Scourging of Christ," in a chapel of S. Pietro, in Montorio. On the
25th of February, 1518, Michael Angelo was again in Carrara for
the purpose of obtaining marble, which he needed in Florence.
Upon his arrival he found that the contracts which he had made had
not been carried out. He had much trouble, and at length, in order
to show the people of Carrara that he could do without tlu-in. he
opened quarries at Seravezza and Pietrasanta, situated on the Flor-
entine territory. But these things involved him in great dilliculty.
and several months after, he writes that he is tempted to leave, every-
thing and return to Carrara, for they had called him back with as
many entreaties as if he were Christ himself. At length he went
and ordered his blocks sent to Florence, and afterward divided his
time between Carrara, the new quarries, and Florence, where they
were laying the foundation for the fa9ade. In August he bought the
land on which to build a house. All this year he had nothing but
trouble. In the new quarries there was much sickness, and the men
were idle and unfaithful in every way. In October he was himself
ill ; but at last, during the winter, he succeeded in conveying a num-
ber of pillars and blocks to the sea-shore, to be shipped to Florence,
when, in the spring, a command came from Rome to leave every-
thing. The building was postponed, and no payment ! Although
Michael Angelo complained to the Medici in this matter, the circum-
stances by which they were surrounded compelled them to this
course of action. For a time Michael Angelo was much disheartened.
At last he commenced again upon the mausoleum. Card. Medici
now wished to erect a monument to his family in the form of a
chapel, in the ch. of S. Lorenzo. This was commenced in 1520.
In 1520 also, Raphael died ; Leonardo had died in France a year
before; and soon after came the sudden death of the Pope. The
Medici had little money, and their work progressed slowly ; and
Michael Angelo was left free for the mausoleum and some incidental
labors. Adrian, who had succeeded Leo, did not live a year in
the Vatican. His simplicity, and his mode of life, had not suited
the people, and he died unlamented. Card. Medici now became
Pope, and the building of the Sacristy was resumed, besides which
it was resolved to erect a library of S. Lorenzo. Michael Angelo
received fifty ducats monthly, and commenced his work upon tin-
statues of the Dukes of Nemours and Urbino, two of the noblest
monuments that sculpture has produced. In the spring of 1524, the
Card, of Cortona made his entrance into Florence as regent, and
two months later Ippolito and Alessandro, in whose name he reigned,
followed him. In 1525, Clement VII. summoned Michael Angelo
to Rome. The heirs of Julius II. complained of the delay in the
completion of the mausoleum, but it was agreed that the matter
BUONAROTTI. 153
should be left to the Pope, and he decided that, on account of his
own need of Michael Angelo, the other work should be given up.
Bandinelli was at this time the favorite of Clement VII. He hated
Michael Angelo, and desired to obtain the commission for a statue to
be placed at the gate of the Palace, opposite the " David." With the
new Pope he succeeded, and the marble for the statue arrived at
Florence in 1525. The citizens felt that Michael Angelo had been
unjustly treated; and when the marble fell from the vessel into the
Arno, a lampoon, written in rhyme, was circulated, in which it was
said that the marble, sorry to have been taken from Michael Angelo,
would have drowned itself in order to escape Bandinelli. The dis-
grace was all the greater when we consider that Bandinelli was
nothing. Had he been a great master, the trial would have been
lessened, both for the citizens and their sculptor. The cupola of the
new Sacristy was completed in 1525. This year and the two following
ones were times of great political agitation, both in Florence and
Rome; and, at length, on the 17th of May, 1527, the Medici had
departed from Florence, and the Consiglio Grande was to assemble
on the following day. Michael Angelo was in Florence. Little
progress had been made in the Sacristy, which was now, of course,
given up. There is no doubt but Michael Angelo sat in the Consig-
lio. Capponi was elected gonfalonier. At this time Clement was
imprisoned in the Castle of S. Angelo. In December he obtained
his freedom, and went to Orvieto, where he opened negotiations with
Capponi. Little is known of Michael Angelo at this time ; but in
August, 1527, the new government transferred the block of marble
to him. With the year 1529, a fierce strife of parties began in Flor-
ence. Capponi was forbidden by the state to communicate with the
Medici. It was discovered that he did so, and his office was imme-
diately taken from him. Carducci was appointed in his place. In
1529, Michael Angelo was appointed superintendent of the fortifi-
cations of Florence and the Florentine territory, and the govern-
ment of Carducci demanded an activity that his power for labor
could scarcely satisfy. He first turned his attention to the fortifica-
tion of S. Miniato, and the works went on with wonderful rapidity.
Pisa. Livorno, Cortona, and Arezzo were to be made defensible, and
in the early part of 1529 Michael Angelo was sometimes in Florence,
and sometimes in these other cities. Ferrara was at this time the
real military state in Italy, and its duke was regarded as the best
soldier and politician of the time. Michael Angelo was sent by the
government to confer with him, and to see the fortifications, and
arrived at Ferrara the 2d of August. He remained more than a
week, and was awaited at Florence with great anxiety. During his
absence tidings arrived of the peace at Cambray, and it was plain
that Florence must now depend upon herself alone. On the 8th of
September Michael Angelo had been required to give his advice at
154 BUONAROTTL
Arezzo. He soon after this became suspicious of Malatesta, to
whom the height of S. Miniato had been assigned. He wont to
the palace to express his apprehensions* He was sun.' that Malatesta
was a traitor. At the palace they listened with scorn, and were
offended. Leaving it in great agitation he met a friend, Rinaldo
Corsini, who assured him that the following day the Medici would be
in the city. They decided to fly. They tried one gate after another
which they found closed. At length they came to the I'orta di
Prato. Michael Angelo gave his name as superintendent of fortifica-
tions, and they were allowed to pass. Nothing can free him from
reproach in this matter; but justice requires that the motives by
which he was influenced should be considered. He saw plainly what
must occur. He was unable to arouse those in authority to tin-
truth. He would not witness the destruction of Florence. His aged
father and his family depended upon him, and he must preserve his
life. After many adventures he arrived in Venice, Corsini having
been separated from him. It was thirty years since he had seen
that city, and during that time its art had been perfected. The
nobles wished to take advantage of this opportunity to retain Michael
Angelo in Venice, but he declined. He contemplated going to
France. While he remained, he lived quietly in a hired house. Tho
30th of September, 1529, a proclamation of proscription was pub-
lished in Florence against thirteen citizens, who were declared to be
rebels unless they returned before the 6th of October. The name of
Michael Angelo was the eighth upon the list. The great master had
always admired Dante, and it was natural that at this time he should
think of him. For he, too, had gone into exile, on account of politi-
cal views. Grimm thinks that his sonnets on Dante must have been
written at this time. I give a single quotation :
" I speak of Dante, him whose mighty mind
Was ill-conceived by that ungrateful race
With whom the great no recognition find.
Oh ! were I he, then the same fate were mine,
His exile and his power alike to share;
Happiest of all that earth could me assign."
Soon letters began to come which showed him how much they
wanted him in Florence. At length he was summoned to Ferrara. to
meet the Florentine ambassador there, and after much negotiation, in
the middle of November he returned once more to his native city.
It was on this journey that, in Modena, he met Begarelli. This
artist knew not how to use marble ; but his statues in clay were won-
derful, and Michael Angelo is said to have exclaimed, " Alas for
the statues of the ancients, if this clay were changed into marble ! "
The winter which followed his return was one of fearful suffering in
Florence. In January the supreme command was given to Malatesta
Baglioni. The imperialists kept up a close siege, and between the
BUONAROTTI. 155
15th of March and the 15th of April, 5,800 persons perished. Great
scarcity prevailed. Meat almost disappeared, and sickness was in-
creasing. Hope and fear alternately swayed the city. The history
of the city must be the history of Michael Angelo. He was much
occupied upon the fortifications, especially those of S. Miniato.
There were, however, days when the danger seemed less, which he
spent in quiet among his marbles. He took up his brush, neglected
for nearly twenty years, and commenced the " Lcda with the Swan,"
for the Duke of Ferrara. This picture has disappeared, but engrav-.
ings and copies remain. That in the Dresden Gall, gives a good
idea of the design and painting. At length a gleam of hope passed
over the city. Francesco Ferrucci appeared without the walls. He
demanded reinforcements from Florence. They went to him, and
from the 24th of March until the 3d of August he was engaged in
brave attempts to deliver the city. On that day he was killed.
Hope and courage seemed dead, and on the 8th of August, 1530, the
freedom of Florence was ended, and the followers of the Medici
ruled. Many of the citizens fled, others were concealed. Michael
Angelo was among the latter. But his name was too great for any
harm to come to him ; and at length, freedom, and the continuance
of his old commissions were offered him, if he would come forward.
He did so, and resumed his labors in the Sacristy. He seemed to
endeavor to kill himself with work, and within a few months, the
four colossal figures, which lie on the coffins at the foot of the stat-
ues of Lorenzo and Giuliano, were placed in niches. They repre-
sent Morning, Evening, Day, and Night ; and, although none are fin-
ished, they have excited wonder and admiration, and are considered
by many as the greatest works of this great man. These statues
and those of the two Dukes seem to have been carried on equally.
The artist was treated with consideration, and money was paid when-
ever it was required. This expressed to him that his political past
was to be forgotten. But he never denied his views. When the
statue of Night was first exhibited, verses were affixed to it ac-
cording to the custom of the tune. Among these Avas the following :
" Night, whom you see slumbering here so charmingly, has been
carved by an angel, in marble. She sleeps, she lives ; waken her,
if you will not believe it, and she will speak." The word angel, here,
referred to the Angelo of the sculptor's name. He made the statue
reply thus : " Sleep is dear to me, and still more that I am stone,
so long as dishonor and shame last among us ; the happiest fate is to
see, to hear nothing ; for this reason waken me not I pray you
speak gently." The anger expressed in these lines is as great as
the courage, which dared thus publicly to utter them. This was
probably written in the spring of 1531. In September, 1531, the
first notice of Michael Angelo after the conquest of the city occurs.
It is a letter addressed to Baccio Valori, in Rome, written by an uncle
156 BUONAROTTI.
of Antonio Mini, who was in Michael Angelo's service. His friends
had become alarmed, and they desired that the Pope should know
of his situation. He was now almost sixty, and the letter pictures
him sick and sorrowful, unable to sleep, having no appetite, and
wilfully working in a cold, damp place. And in the midst of all
this wretchedness he had produced his wonderful " Aurora." His
mind was tormented, too, about the mausoleum of Julius. He had
received money, but had not completed the work. He feared that
he should die, and that his heirs would be entangled in a lawsuit ;
and he begged the Pope, as well as the Duke of Urbino, that a set-
tlement should be made. His friends and the Pope undertook to
assist him, and he went to Rome where the matter was satisfactorily
arranged. On the 30th of April, 1532, he returned to Florence to
continue his work at the Sacristy : and now, for the first time, he
employed assistants. He worked steadily until September, when he
went again to Rome, and made the drawing, according to which the
mausoleum was at length finished. We have no information of him
from this time until September, 1534, when Clement VII. died.
Michael Angelo then left his work at S. Lorenzo, never to resume
it. He had incurred the displeasure of Alessandro, who reigned in
Florence ; but the protection of the Pope had sufficed to preserve him
from insult. Now Clement was dead he would return to Florence upon
no condition. Other things in Florence had pained him. A citadel
had been built by Antonio di San Gallo, and Bandinelli's group had
been placed opposite the "David." Just thirty years elapsed be-
tween the erection of the two statues, and those years may bo said to
have witnessed the rise, progress, and early decline of Italian art.
The world had almost ceased to reckon Michael Angelo among its
painters, when he again entered the Sistine Chapel, and commenced
his " Last Judgment." When first this task was proposed to him he
declined it. After this a discussion arose between himself and Se-
bastian del Piombo as to whether oil or fresco painting should he
used. Michael Angelo declared oil painting was for women, and
men should paint in fresco. Paul III., the new Pope, thoroughly
appreciated Michael Angelo, and in his intercourse with that master
his character appears in its best light. In 1513, when Card. Far-
nese, the master had made for him the designs for two candelabra
which still remain in the Sacristy of S. Peter's. When he first sent
for the sculptor, and requested him to enter his service, he was
told that it was impossible, on account of his engagement with the
Duke of Urbino. The Pope answered angrily, " It is now thirty
years that I have had this desire ; and, now that I am Pope, shall I
not be able to effect it? Where is the contract, that I may tear it ! "
Hut Michael Angelo remained firm, and even contemplated removing
into the territory of Genoa, in order to escape the Pope. One day,
Paul appeared in his atelier with eight cardinals, and desired to see
BUONABOTTL
157
his sketches of the " Last Judgment." The sculptor was at work on
the " Moses," and thev declared that that one statue was sufficient
STATCE OF 5ZOES. BY M. AM.KLO.
3. Pietro in Vincoli, Rome.
158 BUONAROTTI.
for a monument to Pope Julius. The end of all was, that the Pope
satisfied the Duke of Urbino, and Michael Angelo began to paint the
chapel. He worked at this six years without assistance. Of all the
frescoes of the sixteenth century, perhaps none has suffered more
from the ravages of time, and at the hands of men, than this paint-
ing. Copies and engravings make it possible to imagine what was
once there. But the overpowering effect which its first M_dit
should produce is lost. The sentiments of the world, too, are so
changed that such a representation cannot appeal to us as it must
have done to those to whom Michael Angelo preached with his
brush. In this work he gave form, and presented to the sight what
Dante had pictured to the imagination. Like everything else which
is symbolic, it is meaningless if we cannot supply its meaning from
our own souls. " As we look, however, at the ' Last Judgment,' on
the wall of the Sistine Chapel, it is no longer a similitude to us, but
a monument to the imaginative spirit of a past age, and a strange
people, whose ideas are no longer ours" Much of importance to
the world occurred during the painting of this picture. The Flor-
entines in Rome endeavored to regain their old liberty. The Refor-
mation was at work in Germany, and a circle of distinguished men
surrounded the Pope, and conferred unusual lustre upon the society
of the Vatican. Among these men was Michael Angelo; not that
he mingled constantly with them, for he gave himself no rest, but he
knew their thoughts and hopes, and sympathized with those who
would have brought about a reconciliation between the Lutherans
and the Church. In 1537 or 1538, the old Ludovie died, and Mi-
chael Angelo was shaken in his very soul by this sorrow. It was
on this occasion that he wrote his beautiful sonnet commencing,
"Already had I wept and sighed so much
I thought all grief forever at an end,
Exhalt'd in sighs, shed forth in bitter tears."
This poem gives us an insight into the religious belief of Michael
Angelo. He makes no reference to purgatory, but urges the grace
of God (la f/r<t;i>i />/>/;KI), and speaks of the certainty of the perfect
happiness of his father. This involved the question which was
agitating the Christian world, yet in his thought he seems not to
recoi_'ni/e the pos>ibility of a doubt. Before this, when his brother
had died, be wrote, " Although all those sacraments which the Church
enjoins were not administered to him, yet if lie showed true repent-
ance and resignation to the will of God. that is sufficient for his
eternal blessedness." At another time he wrote to his brother to
inquire out some case where he could do good secretly: for he wished
to do something for the welfare of his own soul, but desired that it
should be known to no one. From all ibis the healthiness of his
nature appears. There was no sentimentality or overstraining, but
a -.rustful and obedient dependence upon God. The Sistine Cli;r-l
BUONAROTTI. 159
was opened and the " Last Judgment" exposed to the view of the
people at the Christmas festival of 1541. During the summer before
the Inquisition had been established in Rome, and a panic had spread
throughout Italy. Michael Angelo had given the face of the master-
of-ceremonies to the infernal judge, Minos. The Pope jestingly said
that he could do nothing, as even Popes could not release others from
eternal suffering. It had been proposed to represent the Fall of the
Angels upon the opposite wall. This was now spoken of no more, and
soon the " Last Judgment " was abused from the pulpits. During
the time between 1536 and 1541, Michael Angelo had been especially
happy in the friendship of Vittoria Colonna. All his life he had loved
children, and his poems show that he had loved women. But ho
had kept himself so much alone that he had seemed as if he had
wished for no friends. He was more than sixty years old when he
met Vittoria. Descended from Fabrizio Colonna. and the widow of
Pescara, she was equal to the first nobles in Europe. She was
received by the Pope with great honors, and the Emperor visited
her. Her most intimate friends were the Cardinals Pole and
Contarina. It is not known how Michael Angelo made her acquaint-
ance. Francesco d'Ollanda, a miniature painter, sent by the King
of Portugal to Italy, describes two Sundays which he passed
with Vittoria and Michael Angelo. The meeting was in the little
church of S. Silvestro, opposite the Quirinal, on Monte Cavallo.
The description of these meetings is of extreme interest, and presents
the friendship of the sculptor and the lady in a charming light.
Vittoria, though no longer young, was beautiful, cheerful, and en-
dowed with the highest intelligence. She exercised over Michael
Angelo a gentle authority. For the first time he experienced the
happiness of yielding to love and respect for a woman, and there is
little doubt that these years were the happiest of his life. But even
she fell under the suspicion of the Inquisition, and left Rome in 1541.
To the two following years belong the letters and poems which passed
between herself and Michael Angelo. It is said that he wrote her so
often that she asked him to restrict himself a little. She feared that
he could not go to his work at a proper time in the morning if he
wrote so much at night, and she was prevented by his letters from
passing her evenings with the nuns in whose convent she lived. But
one letter of hers is known, which was written to thank him for the
design for a crucifix. He had sent it for her approbation, intending
to execute it if it pleased her. This it did so perfectly that she de-
clined to return it. saying that nothing more perfect had ever pre-
sented itself to her, and with graceful tact declares ' ' I would rather
that he who did this drawing should execute something else for me."
The poems written by Michael Angelo to Vittoria contain most
beautiful testimony to her influence over him. The sonnets of Vit-
toria were at this time read by all Italy, and she was accustomed to
160 BUOXAROTTI.
send them, when written, to Michael Angelo. In the autumn of 1542
they again met. She had been ill, her family was ruined, and not
one remained in Rome. She withdrew to a convent when- .-lie spent
her few remaining years. To this time her portrait by Marcello
Venusti probably belongs. Many believe this to have been sketched
by Michael Angelo. In 1547, she died. He was with her to the
last, and years afterward declared, that he repented nothing so much,
as that he had only kissed her hand, and not her forehead and
cheeks in that last hour. The loss which he sustained can scarcely
be conceived. He was seventy years old, liis own strength was failing,
and he anticipated no joy but that of death. When the " Last Judg-
ment " was completed he had desired to return to the mausoleum. But
Paul III. would not yield him. He had added a. new chapel to the
Vatican which was named for himself, and he was determined that
Michael Angelo should adorn it with frescoes. The Duke of Urbino
hated the Pope, and insisted upon his rights. But it was at length
decided that the painting should be done. It consisted of two large
pictures representing the " Crucifixion of Peter " and the '' Conver-
sion of Paul." They were finished within eight or nine years. In
the cleaning and restoration they have undergone, most of the original
work has disappeared, and their first appearance can be best imag-
ined from old engravings. These were his last paintings. The affair
of the mausoleum caused him great suffering, for reports were circu-
lated against him, and Aretino, a powerful writer of that time, ac-
cused him of ingratitude to Pope Julius, and represented him as a
thief and a foe to Christianity. Great as Michael Angelo was, and
insignificant as was Aretino in comparison, this had cast a stain upon
him of which he could not rid himself. In the year which followed
the death of Vittoria, the hope which he had always cherished for
the freedom of Florence was crushed. Cosmo, secure in his power,
endeavored to induce Michael Angelo to return to Florence, and
even offered to make him one of the forty-eight] the highest honor
for a Florentine. He declined this with courtesy, for he remembered
his relatives in Florence, and did not wish to injure them with the
Duke. Ilis health continually failed, his sadness increased, and his
poems show how the thought of Vittoria was ever with him. It would
seem that he had done enough to render his fame above rivalry; but
there were nearly twenty years, and much work before him. when at
the end of 1546, he was made director of the building of S. Peter's,
the only condition of his acceptance bein^j, that he should receive no
salary. S. Peter's had been commenced in 1500, by Bramante, who
had been followed by Raphael, Fra Giocondo, Giuliano di San Gallo,
Peruzzi, and Antonio di San Gallo; and yet when Michael Angelo
undertook the work, he was able to construct it as he pleased, and
his plans were so far carried out that he may be considered as the real
architect of the church. San Gallo's model, and Michael Augelo's
BUONAROTTI. 161
plan may now be compared, for they remain almost side by side.
Although he was its architect, he saw nothing of the S. Peter's of our
day, for the facade, the colonnades, the obelisk and fountains have
been added by subsequent architects. And yet he had before his
mental eye a S. Peter's more mighty than we have seen, and one that
was never completed. He also superintended the erection of the
statue of Marcus Aurelius, and completed the Farnese Pal. He had
in mind many improvements which he wished to make in Rome, but
it would seem, as we review his life, that it had been decreed that he
should finish nothing. lie acquired the name even among his con-
temporaries, of ''II gran Michel Angelo," but when his unfinished
works are compared with his original designs, how insignificant they
appear in comparison with what he might have done. We have a
single instance of the restoration of an antique statue by Michael
Angelo, and it is not positively known that this was his work. It is
credited to him only because no other could have done it. It is the
right arm of the " Dying Gladiator." In his old age Michael Angelo
came to be authority in Rome. He had rivals no longer. If any-
thing important was to be undertaken his advice was sought, and his
decision respected. He sat like a Pope, and to him the artists came
as for a blessing. His household was small and simple. His servant
Urbino, and a maid, served him. He dined alone, and at noon.
Anatomy was his passion. He dissected animals of every kind, and
was happy when a human subject could be obtained. He always had
younor men working in his house. Condivi was one of these. In
his old age, like a child, he formed many friendships, and Tommaso
dei Cavalieri was especially dear to him. To him he addressed a
flattering sonnet. Although his great works had ceased he still
amused himself with brush and chisel. He drew a life-sized portrait
of his young friend, and had in his atelier a marble group of Christ
lying dead on his mother's lap, and Joseph of Arimathea standing by,
upon which he continued to work. But he wished no one to see this,
and when Vasari once came to him in the evening he let fall his lantern
so that he should not see the work, and said, "lam FO old that
death often pulls me by the coat to come to him, and some day I shall
fall down like this lantern, and my last spark of life will be extin-
guished." When he could not sleep he would work on this statue,
and had a pasteboard cap in which a candle was fixed, that he
might have a good light. But he discovered a flaw in the marble,
and intended to break it in pieces. He gave it, instead, to one of his
younir men. and it is now under the dome of S. Maria del Fiore
in Florence. After his appointment to the control of S. Peter's his
authority there was supreme. From his age his death was constantly
expected, and there were some who anticipated succeeding him in
his office. While Paul III. lived, the rights of Michael Angelo were
unquestioned. The Pope died in the autumn of 1549. In the spring
11
162 BUONAROTTI.
of the same year Michael Angelo had been very ill, and after his re-
covery had devoted himself with eagerness to his office . Julius III..
the new Pope, projected many new works. Artists of every kind had
full employment, Michael Angelo was wanted even where. He
undertook no commission, but he drew designs, and was consulted
on every plan. A new trouble arose in regard to S. Peter's.
Under the other architects this building had been a source of wealth
to many. Michael Angelo dismissed some and reduced the want's of
others. He could do this the more easily because he received no pay
himself. Paul III. once sent him a sum of money, which was imme-
diately returned. Complaints were made against him. and at length
Julius III. called a council and required the sculptor to defend him-
self. Many accusations were brought, and a special one was that in
a certain part there would be too little light. Michael Anirelo de-
manded that those who originated the reproof should come forward.
Two Cardinals presented themselves, to whom he said, " I intend plac-
ing three other windows above those already there." " You never
gave a hint of that," answered the Cardinals. - Nor was I bound
to do so," replied the sculptor, " nor will I bind myself to give your
lordships or any one else information of my intentions. Your office is to
furnish money, and to take care that it is not stolen ; as regards the
building plan, that concerns me alone." He then said to the Pope,
" Holy Father, you know what I get for my money, and that if my
work does not tend to the saving of my soul, I shall have expended
time and trouble in vain upon it." Julius placed his hand on his
shoulder and said, "Your eternal and temporal welfare shall not
suffer from it; there is no fear of that." Thus the matter was
ended, and while Julius lived the sculptor was not again disturbed.
From time to time Michael Angelo was urged to return to Florence,
and when Julius III. died, in 1555, the request was again repeated.
One of the Cardinals whom he had so severely reproved.now ascended
the Papal chair. He at once deprived Michael Angelo of his pension,
and sent him each month a salary, which he each month returned.
There were plots against him, and it was reported that he had become
childish, old, and weak. At this time the Florentine offers became
more honorable and urgent, but he would not go. Paul IV. appears
monstrous in history. He cared nothing for art, but he wished 8.
Peter's church to be finished. He therefore continued Michael
Angelo in office. When the Spaniards approached Home, his faith-
ful Urbino had just died. It would have seemed the time for him to
go to Florence, but instead, he went to the mountains of Spoleto. It
was almost the first time that he had thoroughly enjoyed nature, and he
afterwards wrote, " I have left more than half my soul there, tor truly
there is no peace but in the woods.'' From this time he answered the
urgent requests from Florence by saying that it would be a sin for him
to go, that he must persevere in the work which he had begun in
BUONAROTTI. 163
God's name. At length they ceased to urge him, and in the last year
of his life the Duke visited him in Rome and showed his reverence for
him. In 1558 the Pope died, and Pius IV., his successor, was be-
sieged by new attacks upon Michael Angelo. But he listened to noth-
ing, and restored his pension to him. He knew he should not live to
i-ee the dome completed, and he made a model in clay, so accurate in
its proportions, that when the dome was commenced many years later
it was only necessary to copy it on a colossal scale. Pius IV. was a
friend to the arts and to Michael Angelo. Paul IV. had wished to
destroy the *' Last Judgment," and had employed Daniele da Volterra
to cover the figures with drapery. It seems that Michael Angelo was
asked to do the work, and had answered ironically, " That is soon
done. The Pope has to put the world in order ; it is but a small
trouble as regards pictures, for they keep still." When in his eight v-
sixth year he wrote a letter to Cardinal di Carpi which proves how
little his mind had failed. Soon after, the committee appointed to
inspect the building dismissed a young man whom he had employed.
Upon this he declared that he would visit the building no more. That
was just what his enemies desired. Nanni Bigio had long wanted
his position, and it was given him. At first Michael Angelo took the
matter easily, but when they began to change his plans, he roused
himself. The Pope was on the square of the Capitol. Michael
Angelo went to him and made so much noise that they were obliged
to take him into the palace, and the end of all was that the Pope
issued a brief decreeing that for the future they should not depart
from the plans of Michael Angelo in the smallest particular. This
does not seem like the act of a dying man. At this time, too, he
made plans and was consulted respecting important works in Florence.
His last work in Rome was to make a church from an immense hall
in the baths of Diocletian. A year before his death Michael Angelo
was appointed to the honorary directorship of the Acad. of Arts iu
Florence. In the beginning of 1564 it was apparent that his end was
near, and on the 18th of February he died, in the ninetieth year of
his age. He had desired that his body should be carried to Florence.
Opposition from the Romans was feared. Funeral services were
held in the ch. of S. Apostoli, and afterwards the coffin was con-
veyed as merchandise out of the gates, it arrived in Florence on
the llth of March, and was earned privately to S. Piero Magiiiore.
The following day was Sunday. The Duke seems to have desired
that he should be buried silently. Towards evening the artists as-
sembled in the church, the body was covered with a black velvet pall,
embroidered with gold, and a gold crucifix placed upon it. A pro-
cession was formed. The older artists carried torches, and the
younger ones took the bier upon their shoulders, and proceeded to
Santa Croce. A rumor had spread through Florence of what was
occurring, and a great multitude quietly followed the procession. In
164 BUONAROTTI.
the Sacristy the coffin was opened, and though ha had been dead
three weeks he appeared as if he had just died. The crowd became
so great that it was impossible to close the tomb. But it was ni^ht
and at length they were dispersed. The Duke evidently feared that a
public funeral might create a political commotion ; but it was thirty
years since he had left Florence, and those who stood around him
scarcely remembered his connection with their city. In July magnili-
cent funeral ceremonies were held. The ch. of S. Lorenzo was
splendidly decorated, and Varchi delivered the oration. His nephew
Leonardo had a monument erected in Santa Croce, and the Duke
gave the marble. In the same church are the monuments of Dante,
Alfieri, and Macchiavelli. In the court of the UfHzi his statue stands
with those of other great Florentines, with no especial prominence.
His house in the GUibelline Street still remains, but his paintings and
other works are not there ; they are in the possession of his family.
" All Italians feel that he occupies the third place by the side of
Dante and Raphael, and forms with them a triumvirate of the greatest
men produced by their country, a poet, a painter, and one who
was great in all arts. Who would place a general or a statesman by
their side as equal to them? It is art alone which marks the prime
of nations."
ENGRAVINGS AFTER THE WORKS OF MICHAEL ANGELO.
Engraver, ALBERTI, Chertibino. The Crucifixion. S Jerome
meditating on the Crucifix; 1575. S. Andrew bearing his Cross:
1580. Two Figures from the Last Judgment ; 1591. Charon, with
two other Figures; 1575. Prometheus devoured by the Vulture;
1580. The famous Pieta.
Engraver, BARTOLOZZI, Francesco. Prometheus devoured by
the Vulture.
Engraver, BEATRICI, Niccolo. The Annunciation, with the
name* of Michael Angelo and Beatrici. The Good Samaritan ;
Hfirhele Angela, inv. The Mater Dolorosa. N. B.; Roma?; 1547.
The Conversion of S. Paul: M. Angelo, pinx., etc. ; N. B. Tbe
Prophet Jeremiah, with names of painter and engraver. The Last
Judgment; 1562; in nine sheets. Ganymede, inscribed, Ganimedes
jucenis, etc. The Fall of Phaethon. Titius devoured by a Vulture;
Ant. Salamancha, ex. Silenus carried by Children; 2V. Beatrice, fee.
Eiujruwr, BOXASOXI, Giulio. The Creation of E\e. The Last
Judgment; inscribed. .Julin.t Jiniiaxoniu* Hi/none propria Michcelis
Anfjf/1, etc. Solomon, David, and Jesse, from Sistine Chapel; Julio
Bonasone imitando, etc. The Fall of Phaethon. Three Female
Figures with Veils.
C.xi'KM.Axr, Antonio. The Creation of Eve; from
Chapel. Adam and Eve driven from Paradise.
BUOXAROTTI BUOXI. 1 05
Engraver, CARACCI, Agostino. The Pieta, after the sculpture
of M. Angelo.
Engraver, CAUAGLIO or CARALIUS, Gio. Giacomo. The Carry-
ing up of Ganymede.
Engraver, CAVALLERIIS, Gio. Batista. The Virgin, called " The
Silence." The Dead Christ in the Lap of the Virgin. The Con-
version of S. Paul. The Martyrdom of S. Peter.
Engraver, CORT, Cornelius. The two Tombs of the Medici.
Engraver, CuxKGO, Domenico. Three Subjects from the Crea-
tion; Sistine Chapel, engraved for the Schola Italica of G. Ham-
ilton.
J-lngraver, FULCARUS or FURCK, Sebastian. The Last Judgment.
J^i/graver, GHISI, Giorgio. The Prophets and Sibyls of the Sis-
tine Chapel; six large plates. The Last Judgment; ten large plates.
Engraver, GHISI, Adamo. Dead Christ in the Lap of the Virgin,
after celebrated sculpture of M. Angelo: 1566.
Engraver, JODE, Gerard de. The Crucifixion; a large print in
three sheets, marked, G. de Jade.
Engraver, KARTARITS, Marius. The Last Judgment.
Engracer, KILIAX, Lucas. The Pie: a.
Engraver, Musis, Agostino de, called Agostino Veneziano.
Hercules strangling Antaeus.
Engraver, PEKAC, E\ienne du. The Last Judgment. The
Capitol.
Engraver, POTRELLE, Jean Louis. Portrait of Michael Angelo.
Engraver, RAIMOXDI, Marc Antonio. The Holy Family, in the
Sistine Chapel. Adam and Eve driven from Paradise, from the
Sistine Chapel. Hercules strangling Antaeus.
Engracer, SCHIAVOXKTTI, Luigi. The Cartoon representing the
Surprise of Soldiers on the banks of the Arno.
Engraver, SERICCUS, SOYE or SYTIUS, Philip. The Virgin with
the infant Christ sleeping; 1566. Philippua Sericcus. The Cruci-
fixion. A Pieta.
Engraver, STEEX, Francis van der. Michael Angelo's Dream.
Engraver, Vico, Vicus or VlGHl, Enea. Jupiter and Leda. A
Bacchanalian subject.
Engraver, ZUCCHERELLI or ZCCCARELM, Francesco. Etching of
the Statue of Victory, after the Sculpture.
Buoni, Buono de, born at Naples; died 1465. One of the best
painters of his time. Some of his works are still in the churches of
Naples.
Buoni, Silvestro de', lx>rn at Naples (1420-1480). Son and
pupil of the preceding. He afterwards studied under Solario, called
Zingaro. Buoni was an attractive painter. His pictures are in the
Mus. and churches o* Naples. The best, which is a very interesting
work, is in the old basilica of S. Restituta. It represents that saint
166 BUONI CABKZALERO.
with the Virgin and the Archangel Michael. A warm, beautiful
tune pervades the- whole; the figures are dignified and not mannered;
it seems to unite the style of the Umbrian with the animated cheer-
fulness of the Venetian school.
Burghers, Michael. A Dutch engraver who settled at
Oxfor(1 aftcr thc taking of Utrecht by Louis XIV. Al-
though his plates were not especially good, he is esteemed
for having preserved many remains of antiquity which would other-
wise have been lost.
Burgkmair, Thoman. Kugler says the family of this name
are next important to the Holbeins in the history of art in Augs-
burg, where some of Burgkmair's works still remain in the Catli. and
Gall. The former were presented in 1480. lie is inferior to the
Holbeins.
-, Burgkmair, Hans, born at Augsburg (1473-1559).
1/\ Son of the preceding, and in his day the most im-
TJ A portant artist of Augsburg. He was realistic, and
TT succeeded in actual representations of common life
and portraits, and yet was not without feeling for beauty. He had
great versatility of talent; he painted religious subjects, and knightly
or courtly representations in addition to the subjects before men-
tioned. He also made many designs for wood-cuts, which are full of
spirit. He imitated no one master, but rather formed a style of his
own. Many of his works remain and are in Augsburg, Dresden
Gall., Nuremberg, Munich, Vienna, etc. He had two distinct
periods; the first extended to 15<>8, and in it he was German en-
tirely; later, his tendency is to the Italian order, and is charactcrixed
by fuller forms, changed draperies, and more delicacy of treatment.
That he painted landscapes well may be seen in No. 65, Munich
Gall., a " S. John at Patmos."
Byzes of Naxos, invented the cutting of marble tiles about the
50th Olympiad, or 580 B. c.
c.
Cabel or Kabel, Adrian van der, born at Ryswick, 1631 ; died at
Lyons, 1695. Pupil of Van Goyen, whom he left with the intention
of visiting Italy. When he reached Lyons his works were so much
admired, that it is said he remained there until his death. But we
are also told that the associated painters at Rome called him
Corydnn and Geestigkeit, which would prove that he studied there.
He painted landscapes with cattle and figures. :uid seaports. Sonic
of these were fine, but his habits wen- irregular, and his pictures
consequently very unequal.
Cabezalero, Juan Martin de, born near Cordova (1688-1678).
Pupil of Don Juan Carreno. He had great reputation as a painter
of history. His principal works are in the churches of Madrid.
CACCIA CAGLIARI. 1 67
Caccia, Guglielmo, born at Montabone (1568-1625). Called II
Moncalvo, from his long residence in that place. He painted in
fresco and oil. His coloring was gay, his style of form taken from
Raphael; he especially studied his landscape backgrounds. The
Chiesa de' Conventuali, at Moncalvo, has a full coll. of his works.
They were also known and prized in Milan, Pavia, Turin, Novara,
and other cities. He had five daughters, two of whom were painters,
Ursula and Francesca. The works of the latter were mistaken for
those of her father. He or the daughter Ursula founded a convent,
into which the sisters retired. In this convent there are many
pictures by Ursula, who died in 1678. Francesca died when fifty-
seven, but the year is not known.
Caccinoli, Gio. Batista, born at Castle Budrio (1G35 ?-1675).
Pupil of Domenico Maria Canuti. A painter of history of good
reputation. Many of his works were for the churches of Bologna.
Caffa, Melchiore, born at Malta, 1631; died at Rome, 1687.
Studied under Bernini, and is said by some to have equalled his
master. He executed various works for the Roman churches. The
most esteemed is a marble group of " S. Thomas distributing Alms,"
in the Chapel of S. Agostino.
Cafileri, Filippo, born at Rome (1634-1716). His family were
from Naples, and were allied with many noble houses of Italy.
Caffieri went to Paris, at the request of Card. Mazarin, in 1660. He
was employed in works for the royal palaces, and Colbert gave him
apartments at the Gobelins. He was afterwards made sculptor
and naval-architect to the king, and inspector of the marine at Dun-
kirk.
Caffieri, Jacques (1678-1755). Son of the preceding. His best
works were busts in bronze.
Caffieri, Jean Jacques (1723-1792). Son of the preceding,
whom he much excelled. He executed many fine works. Among
his larger one's may be mentioned a group of " Melpomene and
Thalia," and a S. Silvia at the Invalides. His busts were better
than his statues. Those of Corneille and Piron, at the Theatre
Francais, are by him.
Cagliari or Caliari, Paolo, called Paul Veronese, born at Verona
(1528-1588). Son of a sculptor, and pupil of Antonio Badile,
his uncle, and a reputable painter. He lived mostly in Venice,
and imitated Titian in color. He did not equal the latter in
the perfection of his flesh tones, but that which particularly dis-
tinguished him was the vitality and poetic feeling which he infused
into his works. His gorgeous draperies, grand architecture, splendid
vases and ornaments, varied costumes, and the representation of
imposing scenes rendered his works most effective and masterly.
Even his religious pictures have all these features, and are admirable
scenes of earthly pageantry. Some of his more serious subjects,
168
CAGLIARL
however, are thrilling in their deep feeling and expression. Magnifi-
cent effect seems to have been his chief aim, and this was attained
by representing crowds of figures gorgeously attired, apparently in
full enjoyment of happy prosperity. His pictures appeal to the
senses more than the spirit, and his costumes are often indecent.
Few of his early works are known. The eh. of S. Sebastiano, in
Venice, where the master is buried, is rich in his works; there are
.almost innumerable pictures by him on its walls and altars; of these
three are very large and represent scenes connected with the Mar-
tyrdom of S. Sebastian. In the Louvre is the colossal ' Marriage i'.t
Cana." This is 30x20 feet in size, and among its many faces air
the portraits of the artist and cither prominent pel-sous. Another
lanre work in the Louvre is the " Magdalen washing the Feet of
CAGLIARI. 1 69
Christ." The " Feast of the Levite," in the Acad. at Venice, is
also large and rich in color, but less excellent than the others. In
the Gall, at Dresden is the " Adoration of the Kings," which is
extremely beautiful. The Holy Family are arranged on one side,
while on the other, the kings, arrayed with purple and gold, adoringly
worship the Divine Child. The harmonious coloring, the noble life,
and dignity of the figures, and the whole arrangement of the compo-
sition, render it a masterpiece. Veronese decorated the Pal. of the
Doge with many mythological and allegorical designs. He left a
great number of works. Many of them are in the Louvre, Brera,
Dresden, and other European galleries, and the National Gall, has four
of his pictures. His portraits were of high merit. He left two etch-
ings ; they are slight, but masterly, and represent,
The Adoration of the Magi : Paolo Veronese, fee.
Two Saints sleeping ; no mark.
Liibke says, " He entered, indeed, upon Titian's heritage, and by
his grand creative power and noble beauty upheld the banner of Ve-
netian art, until the end of the century." Wornum remarks, " Paolo
Veronese was the real master of Rubens. His works, however, have
their defects: he was, as Algarotti observes, careless in design, and
in costume extremely licentious ; but these faults are completely con-
cealed by the absorbing magnificence of his coloring, which, added
to his noble fancy and inexhaustible invention, render his defects as a
grain of sand in the balance." His son Carlo was his pupil, and
seemed to have inherited his talents, but died when twenty-six years
old, in 1596.
ENGRAVINGS AFTER PAOLO VERONESE.
Engraver, AUBIN, Au^ustin de St. Jupiter and Leda.
Enyracer, AURRAX, Benoit, the younger. Pilgrims of Emmaus.
Ef/rarer, BARTOLOZZI, Francesco. The Judgment of Solomon;
after a dratcinr/.
Engraver, BEAUVARLET, Jacques Firmin. Venus lamenting
Adonis.
Engraver. BLOKMAERT, Cornelius. The Resurrection.
Engraver, BRKBIETTE, Pierre. The Martyrdom of S. George.
Em/raver, CARACCI, Agostino. Holy Family with SS. Anthony
and Catherine. The Virgin taking two Monks under her protection.
The Marriage of S. Catharine. The Crucifixion. Christ's Body,
supported by the Virgin and an Angel. Martyrdom of S. Justina ;
two sheets.
Knyraofr, COLEMANS, Jacob. A Poet conjuring up Fortune.
Portrait of P. Veronese.
Enyracer, DESPLACES, Louis. La Sagesse Compagne d'Hercule.
Engraver, DUCHANGE, Gaspar. The Entombment ; fine.
170 CAGLIARI.
Engraver, DCJFLOS, Claude. Christ and the Disciples at Emmnus.
Engraver, DUPUIS, Nicholas Gabriel. Adoration of the Magi.
Engraver, GOLTZ or GOI.T/II*S, Ileinrich. The Last Supper.
1585.
Engracer, GROEXSVKLT, John. Adoration of the Magi; J. (iroenx-
nelt, fee.
Engraver, HAXSKTANGL, Franz. Susanna. Adoration of the
Magi. Marriage at Cana. Christ bearing the Cross. The Concilia
Family before the Madonna.
Engraver, HEXRIQUKZ, Benoit Louis. Finding of Moses.
Engracer, HOXECK. The Presentation in the Temple.
Engraver, HOUBKAKKN, Jacob. Portrait of Daniello Barbaro.
Engracer, JACKSON, John Baptist. The Presentation in the Tem-
ple. Marriage of S. Catherine.
Engraver, JACOB, Louis. Rebecca and Eliezer.
Engrarer, JEAURAT, Edme. Finding of Moses; fine.
Engraver, JOUILLOX, Francois. Apollo and Marsyas. Mercury
turning Aglauros to stone.
Engraver, KII.IAX, Lucas. The Resurrection.
Engraver, KILIAX, Wolfgang. Baptism of Christ.
Engrarer, KILIAX, Philip Andrew. Adoration of the Magi.
Engraver, LASNK, Michel. Christ in Glorv, with SS. Pe.ter and
Paul.
Engraver, LOREXXIXI, Fra Antonio. The Annunciation. Bap-
tism of Christ. Raising of Lazarus.
Engracer, MAXXL or MAKXXL, Jacob. Judith leaving the Tent
of Ilolofernes. Child holding a Dog.
Engraver, MATIIAM, James. Visitation of the Virgin.
Engraver, MATIIAM, Theodorus. Marriage of S. Catherine, S.
John presenting the Ring.
Engraver, MITELI.I, Giuseppe Maria. The Rich Man and La/.ar::s.
Engraver. MOYRKAU, Jean. Rebecca and EUezer.
Kngrdver, l'r/.7.i, Luigi. The Feast at the House of Simon.
Engraver, PKKISI.KU, Johaun Martin. Christ bearing his Cross.
Engraver, PIJEVOST, Zacharias. Marriage, at Cana. The Feast in
the House of Simon.
Engrarer, RAIXALDI, Francesco. The Rape of Europa.
Engraver, RAVKXET, Simon Francois. Venus and Adonis.
Engraver, SAEXRKDAM, Jan. The Feast at the House of Simon.
Engracer, SAITER, Gottfried. Marriage at Cana.
/Engraver, SCOTTO, GIROI.AMO. Feast at the House of Simon.
Engraver, TKKWKS n \, Angustin. the Elder. Finding of Moses.
Engraver, TIIOMASSIX. Henry Simon. Christ and the Disciples
:' Kminaus.
Engraver, VAXXI, Gio. Battistn. Marriaire at Cana.
Engraver, VKXDRAMINI, Gio. Vision of S. Catherine.
CAGLIARI CALDARA. 171
Engraver. TILLAMKXA, Francesco. Presentation in the Temple ;
this plate was commenced by Agostino Carracci ; it is rare.
Engraver, VISSCHER. Cornelius. The Ascension.
Engraver, VOLPATO, Gio. The Feast in the House of Simon.
Engraver, VORSTERMAX, Lucas. S. Helena seeing the Cross.
Enf/raci.-r. WAGNEK, Joseph. Enthroned Madonna with infant
S. John and other saints.
Engraver, Zuccm, Andrea. S. John the Baptist.
Cagnacci, Guido, born ait Castel Durante (1 600-1 C80). Pupil of
Guido Reni. He merits honorable mention among Bolognese artists.
He avoided all hardness, and so blended his tints as to soften and
round the limbs of his figures. The Emperor Leopold I. was his
patron, and he spent much time at Vienna. His works arc better
known in Germany than in Italy.
Cairo, Cavaliere Francesco (1598-1674). Pupil of Morazzone,
he became enamored of Venetian coloring, and studied the works of
Titian and Paul Veronese. The result was an admirable style. One
of his best works is the S. Theresa in S. Carlo iu Venice. His pic-
tures are also at Milan and Turin.
Calabrese. See Preti.
Calabrese. See Cardisco.
Calandra, Gio. Batista. One of the first mosaists who wrought
in the Vatican. On account of the injury to oil paintings in S.
Peter's, resulting from dampness, it was determined during the reign
of Urban VIII. to replace them by copies in mosaic. The first altar-
piece was a S. Michael after Cesare d'Arpino, executed by Calandra.
Calcar, Hans Von. Real name, Hans Stephanus (1510-1546).
Of the Italian School of painting. In 1536-37 he resided in Ven-
ice, and studied under Titian, whom he so imitated that it is
sometimes difficult to distinguish their respective works. No histori-
cal work known to be his remains. His portraits are fine and rare.
Berlin Mus. No. 190; a man with a letter in his hand, at Vienna;
and one in the Louvre, which has been ascribed to both Paris Bor-
done and Tintoretto.
Caldara, Polidoro, called Caravaggio from his birthplace (1495-
1543). This painter began life as a mason and was employed at the
Vatican, where, in 1512, he became acquainted with Matturino^ of
Florence, who instructed him in drawing and made him his assistant
in the decorative works in which he was employed. Together they
executed fresco chiaro-scuri which wore much praised, even by Ra-
phael. These are known now only by the engravings from them by
Cherubino Alberti, Galestruzzi, and others. In 1527, the sack of
Rome interrupted their work, and the two painters were separated.
Polidoro went to Naples, and from there to Messina, where he es-
tablished a good reputation as an artist. In 1543. having made a
comfortable fortune, he prepared to return to Rome, but was mur-
172 CALDARA CALLET.
dered by his servant for his money. His body was placed on the
steps of the house of a lady he had often visited. The servant was
suspected and made to confess by means of the torture. His princi-
pal work was done at Messina, and represented " Christ bearing his
Cross." This with several small pictures of sacred subjects i- now in
the Studj Gall., at Naples. His works have power, life, and passion,
and he may be said to have originated the style which in later tiin, 1
formed the basis of the Neapolitan school.
Calendario, Pilippo. Flourished at Venice about 1334. His prin-
cipal work was executed for the Republic, and consists of the Por-
ticos surrounding the Square of S. Mark. He was largely rewarded
by the state, and the Doge gave him one of his daughters in marriage.
He did other good works in Venice, but was at last executed as a
conspirator.
Caleiise. Ceaare. Flourished about 1690. lie attained a reputa-
ble rank as a painter. His knowledge of chiaro-scuro was good, and
his style graceful. In the ch. of S. John Baptist, at Naples, is a " De-
scent from the Cross " by this artist, which is fine.
Caletti, Giuseppe, called Cremonese. born at Ferrara (1600?-
1660). An imitator of Titian. He spoiled his pictures by inappro-
priate arrangements of design. Lanzi says, " lie placed wild boars in
the sea, and dolphins in the forests." Two of his best works are in
the ch. of S. Benedetto at Ferrara.
Call, John Van, born at Ximeguen (1655-1703). After copying
the works of some of the best artists of his own country, he went to
Rome, where he made a large collection of drawings of all the most
picturesque views of the country surrounding that city. He settled
at length at the Hague, where he died. His drawings are more pri/ed
than his pictures, and bring large prices in Holland, Avhere they arc
placed in the best collections.
Callcott, Sir Augustus Wall, born at Kensingtcn (1 77!>-i sj.j).
A pupil of Hoppner, he at first practised portrait painting, but later
devoted himself to landscapes. He has been called the English
Claude. In 1837 he exhibited a picture of " Raphael and the Forna-
rina," which was quite out of his usual style. " Milton and his
Daughters" followed in 1*40. The Queen conferred knighthood
upon him in !S.'i7, an I iu 1.S14 he was appointed Conservator of the
Royal Pictures.
Calleja, Andrea de la, l>orn at Rioja (1 7o. r )-i ;*_>). A Spanish
painter of good reputation. Mis l>e<t works are in the churches of S.
Philippe le Royal, S. C'roix. the Treasury chapel, and the convent of
S. Francis.
Callet, Antoine Francois (1741-1823). One of the best
French painters of his time. In the Louvre, there is a lar^e repre-
sentation of the "Four Seasons" executed by him for Louis XVI.,
and intended to be worked in Gobelin tapestry. Part of the ceiling
CALLET CALVART. 173
of the Gall, of Apollo in the Louvre, and that of the Luxembourg,
were by him. He also painted portraits of Louis XVI., Louis XVIII.
and Count d'Artois.
Callimachus. A Greek sculptor said to have invented the
Corinthian capital. The story is that about 550 u. c. a virgin died
at Corinth, and her nurse, according to custom, placed a basket on
her grave containing the viands that she loved best. It happened
that the basket was placed upon an acanthus, the leaves of which
grew up about it with so much grace as to attract the attention of
Callimachus, and suggest to him that design which has been for cen-
turies a prominent beauty in architecture. Pausanias describes a
golden lamp which he made for the service of Athens, which would
burn exactly a year without going out. He is also called the inventor
of the art of boring marble, but it is believed that he perfected it
only, as it must have been known before his time. His fault was
that he could never be satisfied with his works, and elaborated them
until he spoile 1 them. On account of this he was called KaKi^ore^vof.
4 Callot, Jacques, born at Nancy (1 593-1 G35).
WUU/fvt'jPec. An eminent designer and engraver. He was of a
noble family from which he met great opposition
in his pursuit of art. Twice he ran away in order to study. At
length he was allowed to go to Rome in the suite of the envoy sent to
the Pope by the Duke of Lorraine. He speedily arrived at eminence
in his profession. He did not succeed with the graver, and confined
himself to the use of the point. Louis XIII. employed Callot to
engrave the principal battles and sieges of the French. Richelieu
desired him to engrave the siege of Nancy, but Callot declared
he would sooner cut off his right hand, than thus to record the calam-
ity and disgrace of his prince and country. His prints number more
than 1500. His drawings are much prized. His plates with small
figures are the best. He often made several drawings of the same
subject before he satisfied himself. Watelet had seen four different
sketches for his celebrated '' Temptation of S. Anthony." A com-
plete list of his works is given in M. Heineken's " Dictionnaire des
Artistes."
Calvart, Denis, born at Antwerp (1555-1619). From the as-
sociations of his life he may be considered as an Italian painter.
He was one of those who, at Bologna, turned the attention of artists
to landscape painting. He founded in that city the celebrated school
in which Albano, Domenichino, and Guido studied. His excellence
was such that he may be regarded as the restorer of the Bolognese
school, especially in color. His designs had many faults, were
mannered, and his figures sometimes indecorous. He was of a turbu-
lent and fiery disposition and temperament. He was, however, a
most earnest and devoted teacher. His pictures may be seen in the
churches of Bologna. He inscribed his name sometimes as DioxisHO
CALVAKRT. DE AXTVKRSA.
174 CAMASSEI CAMPAGNOLA.
Camassei, Andrea (1601-1648). Pupil of Domeniehino and
Andrea Sacchi. His works may be soon in many public edifices at
Rome: "Triumph of Constantino," Baptistery of the Lateran ;
" Assumption of the Virgin " in the Rotonda, and a " Pieta " at the
Cappucini.
Cambiaso, Luca, called also Luchetto da Genova, born near
Genoa (1527-1585). Pupil of his father, Giovanni, whom lie soon
surpassed. He painted both in oil and fresco, and it is said that his
impetuosity was so great that he sometimes executed his works with-
out cartoon or sketch of any kind. His drawings are much esteemed.
He was fruitful in invention and there is novelty in his designs. His
Cupids and infant angels are boldly outlined, and suggest tin- >tudy
of Michael Angelo. His color is. sometimes brilliant, but too fre-
quently brown and dull. Some of his best works are in Genoa and
that vicinity. His fame reached Spain, and Philip II. invited him
to Madrid, where he went with his son Orazio in 1583. He was
employed in the Escorial and received 12,000 ducats for his fresco of
" Paradise " on the ceiling of the choir of S. Lorenzo. Probably this
was the largest sum that had then been paid for any modern work of
art. After the death of Luca, Philip continued to employ Orazio,
and settled a liberal pension on him.
Cambio. See Arnulfo.
Camerata, Giuseppe, born at Venice (17247-1803). An en-
graver and painter in miniature who was invited to Dresden, where
he assisted in engraving the plates for the Gall., and was made en-
graver to the court.
Camilo, Francisco, born at Madrid, of an Italian family ; died 1671.
Palomino praises him immoderately. He was the scholar of Pedro de
las Cuevas. His works may be seen in various Spanish cities. His
most celebrated one is his " Xuestra Senora de Helen " in the ch. of
S. Juan de Dios at Madrid.
Campagnola, Giulo. A Paduan who flourished about 1500. lie.
is most entitled to notice as an engraver, and there has been much
discussion concerning him. Some of his plates are peculiarly <l<>iie.
The background is expressed by dots, and the figures, strongly out-
lined, are finished by dots within. These plates prove this style not
modern, as it is generally supposed to he.
_. _^ Campagnola. Domenico. Son of the preceding. A
-o pupil of Titian, he aroused the jealousy of that ma>-
^*<* ' ter. His frescoes in the Scuola del Santo, and l.is oil
pictures in S. M. del Parto established his right to good consideration.
His more important works are at Padua; there are lour Prophets,
half figures, in the Acad. at Venice. He holds high rank as an en-
graver, and his etchings and wood-cuts, mostly from his own designs,
are executed with a spirit and style which show the power ol a
master hand.
CAMPALASTRO CANAL. 175
Campalastro, Ludovico, born at Ferrara. His best works are
in the churches of that city.
Campanna, Pedro, born at Brussels (1503-1570). Went when
very voting to Italy, where he gained a good reputation, and in 1530
was invited to Spain by Charles V. His principal works are at
Seville.
Camphuysen, Theodore Raphael, born at Gorcum (1586-
1626?). Pupil of Dietric Govertze. An imitator of Paul Potter.
The facts of his life are not known, and are variously stated by differ-
ent authors. According to Smith, No. 527, Cassel Gall., represent-
ing cattle life size, is by Camphuysen.
Campi, G-aleazzo. A Cremonesc of little reputation, who flourished
in the early part of the 16th century, and whose best work is his own
portrait in the Florence Gall.
Campi, Giulio, born at Cremona (1500-1572). Son of the pre-
ceding. Head of the Eclectic school at Cremona. He attempted to
unite the excellences of the Roman and more northern schools, and
has been called the Ludovico Caracci of Cremona, although his
reform must have preceded that of Ludovico. He admired Raphael,
Titian, and Giorgione. His best works are in Cremona, Milan,
and Mantua.
Campi, Antonio, born at Cremona. Flourished about 1586.
Brother and pupil of Giulio. He excelled most as an architect. His
pictures were mannered. His best one is that of " S. Paul resusci-
tating Eutychus," which was engraved by Agostino Caracci.
Campi, Vincenzo, died 1591. Also brother of Giulio, and in-
structed by him. His best pictures were those of still-life, but he was
much inferior to his brothers.
Campi, Bernardino, born at Cremona (1522-1592). Also
brother of Giulio, and the greatest of the Campi. After studying
under Giulio, and at Mantua, he went to Parma and Modena to study
the manner of Correggio. Returning to Cremona he executed im-
portant works, the best of which are in the ch. of S. Gismondi. In
the cupola he painted an immense representation of the " Blessed of
the Old and New Testaments." The figures are seven braccia
hi_ r h and are very numerous, each one being distinguished by an
appropriate symbol. He completed this great work in seven months.
The Campi were the test Cremonese artists of their time, but they
were extremely mechanical in their style.
Canachus. A sculptor of Sicyon. Lived probably at the begin-
ning of the 5th century u. c. He excelled more in technicalities and
in the excellence of the separate parts of his works than in the grace
and beauty of the whole. One of his most important works was a
colossal brazen " Apollo " at Miletus. Of this we have copies in a
statuette in the British Mus., and on Milesian coins.
Canal or Canale, Antonio, called Canaletto, born in Venice,
176 CANAL C A NO.
(1697-1768). A pupil of his father, who was a scene painter. He
went early to Rome, where he assiduously studied the ruins of the
ancient city. Returning to Venice, he astonished his countrymen by
his magnificent views of the palaces and edifices of their city, and by
his representations of festivals and carnival scenes, in some of which
there are at least 200 figures. He went twice to England, where he
was much patronized. His interior views were fine. His coloring
in the latter was not brilliant, and in his Venetian pictures it is the
gondolas with their gold and gay decorations which give the glare to
the scene, his figures being often in neutral tints. He acquired
a fortune. His works .ire very numerous and are in almost cverv
collection. Some of his followers imitated him so closely that their
works arc sometimes mistaken for his own, and, indeed, there are
large numbers of pictures similar to those of Canaletto.
Candido. See Witte.
Cano, Alonso, born at Granada (1601-1667). Architect, sculptor,
and painter. He studied painting under Pacheco, Castillo, and tin-
elder Herrera ; and sculpture with Martinez Montaiics. His talents
and versatile genius secured him a high place among artists ; and his
temper was such as led him to defend his rights against all new-
comers. In 1637 he fought a duel, and escaped Madrid; and in Hi44
liis wife was found murdered in her bed. Cano was suspected of the
crime, and, although he fled, was at length apprehended and put to
the torture. He made no confession, and was released, judicially in-
nocent. He still retained his place as painter of the king, and draw-
ing-master to Don Carlos; and was, from time to time, employed on
important works. He determined to remove to Granada and take
priest's orders. Philip IV. appointed him to a canonry. He was
still employed as painter and sculptor by private persons and religious
bodies, and even went to Malaga to superintend improvements in the.
Cathedral. On account of his fierce temper lie was deprived of his
office by the chapter, and was obliged to repair to the king in order
to be reinstated. This occurred in 1659, and so offended him that.
he would no more use his pencil 'or chisel in the service of the Cath.
at Granada. He devoted the remainder of his life to religious and
charitable works, and gave away his money as soon as received. His
purse being often empty. In- was accustomed to go into a shop and
beg a pen and paper. lie would then sketch a head, or an architect-
ural design, and mark the price upon it. This he would give to a
beggar with directions for finding a purchaser. Large numbers of
these eleemosynary works were collected after his death. One of his
strong characteristics was hatred of the Jews. He would cross tin-
street in order to avoid them, and throw away a garment that had
touched one of them. Entering his house, one day. he found his
housekeeper bargaining with one of the despised race. He chased
him out with great fury, sent his housekeeper away to perform quar-
CANO CANOVA. 177
antine, purified his house by re-paving the spot where the Israelite
had stood, and gave the shoes, in which he had himself followed his
tracks, to his servant. In his last sickness, he refused to receive the
sacrament from his attendant priest, because he had communicated
with Jews; and, when they gave him a rudely sculptured crucifix,
pu>luMl it away. Being reproved, he answered, " Vex me not with
this thing, but give me a simple cross, that I may adore it, both as it
is in itself, and as I can figure it in my mind." " This being done,"
Palomino says, '' he died in a manner highly exemplary, and edify-
ing to those about him." Cano's architectural works were chiefly
retablos, which were executed according to the taste of the day,
loaded with heavy ornamentation. Very few of these remain; but
the Louvre has a few architectural drawings, simple and elegant in
style. He loved his chisel better than his brush, and the little of his
work which remains, proves him to have been excelled by no carver
of Spain. When weary of painting he carved for refreshment. A
pupil once remarked upon this strange method, when he replied,
" Blockhead, don't you perceive that to create form and relief, on a
flat surface, is a greater service than to fashion one shape into
another ? " The masterpiece of his chisel, now remaining, is a
Virgin, about a foot high, in the Sacristy of the Cath. of Granada.
In painting he was a ready draughtsman, yet was accustomed to
borrow largely from the ideas of others, and defended the practice.
Ilis works are the finest produced by any Spaniard without study in
Italy. The Queen of Spain's Gall, has eight of his pictures. The
ch. of Getafe, two leagues from Madrid towards Toledo, has six
large pictures by Cano, adorning the retablo of the high altar. The
Cath. of Granada was cruelly robbed by the French, but still retains
some good altar-pieces by its artist-canon. The Cath. of Malaga
boasts the " Virgin of the Rosary," in which the hands and feet are
peculiarly beautiful. This picture is fast decaying. The Mus. of
Valencia has two pictures by this master. One of his most beautiful,
and latest works, representing " Our Lady of Bethlehem," painted
at Malaga for Don Andres Cascantes, was presented to the Cath. of
Seville, where it still hangs in a small chapel, lighted only by votive
tapers. It is finished with exceeding care, and is a worthy crown to
his labors. The portraits by Cano, which remain, are few, but ex-
cellent. The Louvre, the National Mus. at Madrid, and the Royal
Mus.. each possess one of these works.
Canova, Antonio, born in Possa^no (1757-1822). His father and
grandfather were stone-cutters. The former died young, and Antonio
was left to the care and instruction of the latter. Works executed
by Canova in his ninth year still remain. Not far from his home lived
the Signor Gio. Faliero, who was accustomed to employ the old
Pasino Canova, for whom he entertained so great a regard that he
sometimes invited him to spend a few days at his villa. Antonio ac-
12
178 CANOVA.
companied his grandfather, became the friend of the young Giuseppe
Faliero, and the favorite of the entire family. On one occasion when
Canova and his grandfather attended a festival in the Villa Faliero,
the ornament for the dessert was forgotten. The mistake being dis-
covered almost the moment it was required, the servants applied to
Pasino to assist them, for they feared the displeasure of the muster.
The old man could do nothing, but the young Tonin, as he was
called, asked for some butter, and presently carved a lion. This
being sent to the table attracted the attention of all, and Tonin was
sent for. He received the praises of the whole company, and from
this time the Senator Faliero became his patron. This anecdote is
very pleasing, bvit it is probable that the talents of Canova were well
known to Faliero before this occurrence. He placed the boy under tin-
tuition of Giuseppe Bernard!, called Toretto, a Venetian sculptor, who
had settled at Pagnano. Canova was at this time twelve years of age.
He remained two years with this master, and during that time made
many statues and models which are still preserved in the Faliero
family, and in various collections. During an absence of his master
he made the models, in clay, of two angels, which were his first really
original work. He placed them in a conspicuous situation, and
awaited the master's return with hope and fear. Toretto remained
astonished before them, and exclaimed that it was truly a marvellous
work. From these models the grandfather executed in pietra dura
the two angels on the high-altar at Monfumo. About this time
Canova executed his first representation of the human form in marble.
He made small statues and used them as gifts for his friends. When
he was fifteen his patron sent for him to go to Venice, and received
him kindly into his own house. Canova desired to do something for
himself, and engaged to work the latter half of the day for Giuseppe
Ferrari, nephew of Toretto. In a private letter Canova afterwards
wrote, " I labored for a mere pittance, but it was sufficient. It was
the fruit of my own resolution, and, as I then flattered myself, tin-
foretaste of more honorable rewards." This fact places his genius
before us in a strong light, for it is unusual that a youth of fifteen
should receive money, instead of paying it for instruction. In Venice
a new field was open to his observation. lie systematically divided
his time; passed his mornings in the Acad. or in some Gall., his
afternoons in the workshop, and the evenings in studies which had
been neglected in his youth. The first commission which Canova
received was from the Commendatore Farsetti, and consisted of two
baskets filled with fruits and flowers, sculptured in marble, and
placed on the balustrade of the staircase which led to the picture-
gallery, in the Pal. P^arsetti, where Canova had spent much time in
study. These works had no especial excellence, and prove that the
powers of Canova were not extraordinary at that time. At the end
of a year he went with the Faliero family to their summer home at
CANOVA. 179
Asolo. Some time previous to this, his patron, desiring to possess a
good work of his, had given him as a subject, a group of Orpheus
and Eurydice, and wished him to represent the moment when the
lover beholds her torn from his arms forever. lie had worked upon
this in his leisure hours, and took everything necessary for the work
with him to Asolo., where he finished, in his sixteenth year, " Euryd-
ice," his first original statue. It was executed in pietra di Costosa,
and was the size of life. From this time Canova perceived a great
deficiency in the models then used, for it was customary to make
them many times smaller than the statue when finished. He deter-
mined to make all his models, even those of colossal figures, of the
exact size in which they were to be finished. After this time he oc-
cupied a cell in the monastery of the Augustine friars attached to the
ch. of S. Stefano. During the next three years, in addition to his
studies, he was employed on the " Orpheus," and in executing a
bust of the Doge Ilenier. He was accustomed, at this time, to study
entirely from nature. He also gave much time to anatomy, and in
later years made dissections with his own hand, in order to sketch, and
frequently to model from important parts, or well-defined conforma-
tions in particular instances. In 1776 his " Orpheus " was exhibited
at the annual festival of the Ascension. It happened that at the same
time the opera of "Orpheus" was brought out in Venice. The
praise which he then received was always remembered by Canova
" as that which made him a sculptor," to use his own words; and his
gratitude for it caused him, when created Marquis of Ischia, to choose
the serpent and lyre, the mythological symbols of Orpheus and Euryd-
ice, for his armorial ensigns. He soon received an order from the
Senator Grimani for a copy of the " Orpheus," which was the first
statue he executed in Carrara marble. Finding his workshop too
small, he removed to one in the street of S. Maurizio, where he con-
tinued until his final departure from his native country. His next
work was a statue of " JSsculapius," larger than life; and it is said that
but a short time before his death, he saw this work for the first time
after it had left his atelier, and declared himself sorrowful that " his
progress had by no means corresponded with the indications of excel-
lence exhibited in this performance of his youth." He also executed
a group of " Apollo and Daphne," never entirely finished. When
twenty-two years old, he completed the group of " Dasdalus and Ica-
rus," for the Senator Pisani. This was intended as an outward decora-
tion of his palace, but when finished, it was considered too valuable,
and was placed in the Gall, already made famous by the " Family of
Darius " of Paul Veronese, and other excellent works. This may be
considered his last work executed in Venice, as he went to Rome soon
after his twenty-third birthday. He had been recommended by let-
ters to the Cavaliere Zuliani, who then represented the Republic of
Venice at Rome, and was the intimate friend of Faliero. He was an
180 CAXOVA.
enlightened and generous protector of the arts, and received Canova
with great kindness. He soon arranged to have the model of " Daeda-
lus and Icarus " displayed before the best artists and connoisseurs in
Rome. The trepidation with which Canova went to this exhibition,
can easily be imagined. The praise which he received, and the
acknowledgment of his merit, established his reputation. He had
long desired to undertake a group on some heroic subject, and Zuli-
ani procured him the marble, and promised that if no other purchaser
appeared, he would give him the full value of the group when
finished. The subject chosen was that of " Theseus vanquishing the
Minotaur," the figures to be of heroic size. His workshop Avas in a
part of the Venetian Pal. to which no one had access. He worked with
untiring industry, studied in the museums and collections at Home.
and at daylight was often seen with his sketch-book or modelling ap-
paratus before the statues in front of the capitol, or the mlo-sil
figures on Monte Cavallo. In the mean time his friends in Venice
O
succeeded in obtaining for him a pension of 300 ducats from the
government. While at work upon the " Theseus " he also finished a
statue of "Apollo," which last was first exhibited at the same time with
the " Minerva Pacifica " of Angelini, and in spite of the formidable com-
petition, the " Apollo" received high praise. At length the " The-
seus " was finished. Its existence was unknown to all save the ambas-
sador. In order to give full effect to the first exhibition of this work.
Zuliani gave an entertainment and invited all the most distinguished
men of Rome. A model of the head of Theseus had been prepared
by the artist, and attracted the attention of the guests. Various opin-
ions were expressed regarding its form, its expression, and subject, and
all agreed that it was an antique of great merit. In the midst of the
talk, the ambassador said, " Come, let us end these disputes by see-
ing the original," and the statue was unveiled before them. Every-
thing was forgotten in their surprise and admiration, and even the ar-
tists, who afterwards pursued him with envious malice, praised him
in that moment. Canova was often heard to say that death itself
could not have been more terrible than his emotions during these oc-
currences. With the completion of this work terminated the novitiate
of Canova. From this time his fame was established. lie w.
selected by Volpato to erect a monument to Clement XIV.. tin-
suppressor of the Jesuits, the collector of the Clementine Mns.. and
the author of those elegant letters by which his family name. (Jan-
ganelli. has been rendered famous over Europe." Canova hesitated
in accepting this, feeling that his time should be controlled by those
who had bestowed his pension. He went therefore to Venice, and
laid the matter before the senate, who directed him to employ his
time as was most profitable to himself. He now ^ave up his studio
in Venice, and, as Znliani left Rome at this time, he established him-
self in the Strada Bahhuino. and opened that studio which is still the
CANOVA. 181
resort of the lovers of art, of all nations. He now commenced to
practise upon his long meditated design of making his original models
of the dimensions of the projected work. In 1787, the monument of
Ganganelli was first exhibited. It was much praised, even by Mili-
zia, a bitter critic. This was followed by a monument to Clement
XIII., erected by his nephews in S. Peter's; and the mourning genius
in this monument is one of the loveliest works of Canova. These two
monuments employed the best part of ten years of the most vigorous
time in his life. An engraving of the first monument had been dedi-
cated to Zuliani, but Canova desired to give him some more substan-
tial proof of his gratitude, and made for him a statue of Psyche; but
Zuliani hesitated to accept it, and was only persuaded to do so with
the understanding that the artist should receive from him a number
of gold and silver medals, with Psyche on one side, and the head of
Canova on the other, to distribute among his friends. In the midst
of these arrangements, the ambassador died, and the heirs of Zuliani,
displeased at his having given his works of art to the public library,
refused to carry out his plans. Subsequently the "Psyche " was pur-
chased by Napoleon and presented to the Queen of Bavaria. The
fame of Canova extended to Russia, and most advantageous offers
were made him to go to St. Petersburgh. He did not wish to do so,
and excused himself on account of a commission from the Venetian
senate. This was a monument to the Admiral Emo. Canova suc-
ceeded so well in this that a gold medal was made by order of the
senate and presented to him: while, at the same time, an annuity for
life was voted him. In 1798, unable to endure the revolutionary
frenzy at Rome, he retired to his native Possagno. Here he re-
mained more than a year and employed his time in painting. Al-
though we are not accustomed to associate his name with this branch
of art, he was by no means a despicable painter, and his pictures,
which Cicognara states as twenty-two, were more numerous than that.
In May, 1800, his masterpiece, representing the Saviour just taken
from the cross, surrounded by the Maries, S. John, Joseph of Arima-
thea, and Nicodemus, was placed in the parish ch. of Possagno.
This was the first of his many munificent gifts which made this hum-
ble church a splendid temple. After his return to Rome, his health
being affected by continual application, he determined to leave the
many orders which awaited him, and, in company with Prince Rezzo-
nico, he visited Vienna and Berlin. He returned with restored health,
and from this time enjoyed the reputation he had so well earned, and
was constantly employed in the most important labors. His " Per-
seus " was placed, by a public decree, in one of the Stanze of the
Vatican, an asylum hitherto denied to modern art. This was a proud
triumph for Canova. In 1802-03, he went to Paris at the request
of Napoleon, to model the bust for a colossal statue, finished six years
after. In 1810 he was called again to Paris to prepare a model for
182 CANOVA.
the statue of Maria Louisa. In 1805, he went the second time to
Vienna, where he modelled the bust of the emperor. With the ex-
ception of these journeys, from 1800 to 1815, he never quitted Rome,
and, in truth, scarcely left his workshop. In the last named year
he was sent, in an official capacity, to Paris, for the purpose of re-
claiming the works of art which had been taken from Italy, and be-
longed to the patrimony of the Church. His exertions, and the suc-
cess attendant upon them, should ever be remembered by Romans
with gratitude. When his commission was happily accomplished he
went to London. Here he was received with great distinction. The
king honored him with several conferences, gave him a commission
for a beautiful group, presented him with rich gifts, and made him
the bearer of private letters to the Pope. The joy in Rome when
her works of art were restored, was increased when Canova himself
arrived. His entry there may be called a triumphal one, and took
place on the 5th of January, 1816. He had been president of S.
Luke's before; he was now made president of the commission for the
purchase of objects of art, and of the Acad. of Archaeology. In full
consistory, the Pope ordered his name to be inscribed in the " golden
volume of the Capitol," with the title of Marquis of Ischia, and a pen-
sion of 3000 crowns a year was given him. Canova now designed to
execute a colossal statue of " Religion," to commemorate the return
from banishment of the Pope. He only waited for the proper au-
thorities to determine where it should be placed ; but this they would
not do, and. through mutual jealousies, Rome was deprived of the
magnificent gift. Canova was filled with sorrow and regret at this
circumstance, but he determined that not only one statue, but his re-
maining life and fortune, should be consecrated to religion; and he re-
solved to erect a church at Possagno, adorned with many works of
art, and that there his ashes should repose. In the summer of 1819,
after many preparations, Canova arrived at his native town. On the
8th of July, he assembled his workmen and gave them a sumptuous
entertainment. Many young shepherdesses and peasant girls had
joined in the festivities, and assisted in the preliminary excavations.
At the close of the day, each one received a present from Canova as
she passed his seat to bid him farewell. On the eleventh of the
month the religious ceremony of laying the foundation stone of the
future church took place. An immense concourse, not only from the
surrounding country, but from Venice, was present. Canova, habited
in his robes as a Knight of Christ, and bearing the insignia of various
other orders, led the procession. The occasion must have been most
impressive, for all could not have passed away, who had seen this
famous man, when, a poor boy, he attended the steps of his grand-
father, the stone-cutter, now raised by the noblest distinctions. He
consecrated his life and fortune to the service of God, and the bene-
fit of his birthplace. Every autumn, Canova visited Possagno, en-
CANOVA. 183
couraged and rewarded the workmen, and changed from time to
time, as seemed best to him, the details of the previous plan. The
expenditure he thus incurred necessitated great exertion, and he con-
stantly undertook new commissions. One work of this time, the
statue of Washington, is especially interesting ' as the first piece of
sculpture executed in the Old, and publicly commissioned in the New
World; thus uniting, by the fame of one individual, the art of both
hemispheres." (Memes.) In his last winter he was more than or-
dinarily diligent, engaged upon an equestrian statue of Ferdinand of
Naples. On account of this work, in May, he went to that city, and
there became ill. He returned to Rome where, for a time, he seemed
to revive, and was able to resume his work. He arrived in Possagno
on the 17th of September, and in October went to the Villa Faliero.
A half century had passed since he had here indulged the dreams of
youth, and he lingered lovingly on every favorite spot. Though con-
stantly growing weaker he went to Venice, to the house of his friend
Francesconi, where, on the 13th of October, he died. Solemn ser-
vices were held in Venice when his bier was borne to the cathedral
by the professors of the academy, attended by the most distinguished
men in art, letters, or rank. His remains were then consigned to a
deputation of priests from Possagno, and borne in a barge to Pos-
tioma. From here they were taken to his temple, and on the 25th,
the last honors were paid them. On this occasion, the crowd was
so vast that they were obliged to deliver the oration in the open
air. The Venetian Acad. obtained the heart of Canova, to contain
which, an elegant little monument was erected in the hall of the Pal.
of the Arts. The Venetian artists made arrangements to erect a
cenotaph to him, and selected for it his own model of the tomb of
Titian. In Rome a statue was decreed to him, and lie was pro-
claimed perpetual president of her chief academy. In personal ap-
pearance Canova was not especially attractive. His hair was black
and luxuriant, and his forehead of noble dimensions, but the outline
of his features was neither grand nor extraordinary. His head was
remarkably well set upon his shoulders, and his loose manner of
dressing his neck permitted this to be seen. His whole air, manner,
and dress was that of modesty, benevolence, and simplicity. There
is a story that when he first arrived in Venice, he fell in love with a
beautiful girl, somewhat older than himself, who came to draw in the,
Farsetti Gall. Day by day he watched her, until at last she came no
more. At length her attendant appeared, and when he inquired for
the loved one, she burst into tears and exclaimed, " La Signora Julia
is dead." He said no more. Who Julia was he never knew, but,
through all his life, whenever he endeavored to unite the purity of
the angel with the representation of earthly beauty, the lovely Julia
was in his mind. The habits of his life were very unostentatious.
He arose early and worked late. He went little into public society,
184 CANOVA CANTAGALLINA.
but almost always surrounded himself with a few friends at dinner.
He entertained them cordially, but without display. He was very
abstemious, and required rest even after his frugal meals. He joined
in cheerful and light conversation, but avoided anv subject conueetcd
with the arts, or anything that required mental activity. He re-
tired to his chamber at eleven, and amused himself with a book or
pencil before sleeping. Some of his finest sketches were made at this
time, a part of which have been published under the title of " IVn-
sieri." To describe one day, is to describe his whole life. IIi> re-
ligious character and generosity have been sufficiently portrayed. In
professional intercourse, he was governed by the same rules that regu-
lated his life. The progress of art through the achievements of
others afforded him pleasure; envy and jealousy were unknown to
him. At the same time he was severely just in the estimation of his
own merits. He would not receive pupils, and no one could boast of
being taught by him; but he never refused to leave his own work to
give his advice or assistance, or to visit the work of any other artL-t.
To art he was a willing and powerful patron, and he had executed, at
his own order and expense, the numerous busts of distinguished per-
sons in the Mus. of the Capitol. The following is a list of a por-
tion of his works, with the dates of their execution :
1772. Two baskets of fruits and flowers in marble, Farsetti
Pal.
1773. Statue of Eurydice; soft stone of Costosa.
1776. Orpheus ; soft stone of Cost<a.
1779. Daedalus and Icarus ; Carrara marble, Pasini Pal., Venice.
1782. Theseus and the Minotaur.
1787. Tomb of Clement XIV., Rome, ch. of the Holy Apostles.
1792. Tomb of Clement XIII., Rome, S. Peter's.
1793. Second statue of Psyche.
1794. Cenotaph of Admiral Emo.
1800. Perseus, with the Head of Medusa; Vatican.
1 803. Colossal statue of Xapoleon.
1805. Venus victorious; head of Pauline Bonaparte; Villa Bor-
ghese, Rome.
1811. Statue of Maria Louisa.
1817. Monument of Cardinal York.
1818. Sitting statue of Washington.
1822. Pieta in mod.-l.
1 822. Seven reliefs for the Metopes of the temple at Possagno.
These are but a small portion of his works. Cupid. P>\< -lie.
Venus, Adonis, Nymphs, etc., etc., were his favorite subjects and
often repeated.
Cantagallina, Remigio, born at Florence (1582-1 fi.30). An
eminent designer and engraver, said to have instructed Cailot and
Stefano della Bella. IIi> pen-drawings are much prized.
The following are his principal plate-:
CANTAGALLINA CARAGLIO. 185
The Immaculate Conception; after Callot.
Set of four Landscapes. 1609.
Set of six Landscapes.
Set of twelve Landscapes; octagon; marked with cipher.
Set of six Landscapes ; with cipher. 1624.
Set of plates of the scenes of an Opera; after designs by Giulio
Parigii.
Set of plates called the Palazzo della Fama. 1608.
Cantarini, Simone, called II Pesarese, born at Orpezza, 1612; died
at Verona, 1648. After studying with other masters he became the
pupil of Guido Reni. He came to be one of the very best Italian
portrait painters. A head of Guido by Cantarini in the Acad. of
Bologna can scarcely be surpassed in the world. He was vain, and
so disagreeable in disposition that he was obliged to leave Bologna,
and went to Rome. His imitation of Guido is very apparent, and
even more so in his etchings than in his paintings. He is very highly
esteemed as an engraver.
Cantofoli, Ginevra, born at Bologna (1618-1672). Pupil of
Elisabetta Sirani. Her pictures were historical and may be seen in
several churches in Bologna.
Canuti, Domenico Maria, born at Bologna (1620-1684). One
of the most excellent pupils of Guido. He was employed in the
public edifices of Rome, Bologna, and Padua. He also etched
several plates in the manner of Guido.
Capella, Jan Van de. A Dutch painter of marine views, born at
Amsterdam, and granted the freedom of the city in 1653. Further
than this his history is unknown. His pictures are much admired in
England, and a large part of them are in that country. No. 10, Gall,
of the Duke of Aremberg at Brussels, is by him, and represents the
mouth of the Scheldt, with numerous vessels. His pictures arc signed
J. V. Capelle, but are not dated. He liked smooth seas best, Avith
objects clearly reflected, and his skies are often red. He was a good
colorist. Some of his works are winter landscapes with skaters on
lake or river.
Caracciolo, Giambattista, born at Naples (15807-1641). Al-
though in the main a follower of the Carracci, he was somewhat
influenced by the NaluraUsti. He is said to have been one of a cabal
formed to exclude all masters from other parts of Italy from Naples.
This association is said to have committed many crimes. Caracciolo
went to Rome and studied the works of Annibale Carracci in the
Farnese Pal. to so good a purpose, that some of his works done
afterwards in Naples closely resemble those of Annibale. Some of
his pictures are seen in the churches of Naples.
Caraglio or Caralius, Gio. Giacomo, born at Verona,
/'p v (15127-1570 ?). An eminent Italian designer and engraver
Vi/ who was celebrated for his copper-plates from 1526 to 1551.
From his style he is believed to have been a pupil of Marc
186 CARAGLIO CARDUCCI.
Anton. He executed some medals at the court of Poland which
gained him much reputation, and he. was often employed to engrave
gems.
Caravaggio, Michael Angelo. See Amerighi.
. Cardi, Ludovico, called
Q* f*\ f-e j- -r-\ T -it T -T -j Cigoli from the place of his
T A V^IV. I* . 1 IN V birth (1559-1613). One of
those artists distinguished
more by the absence of any glaring faults than by the presence of
any striking excellences. His color was warm and pleasing, but his
expression was often exaggerated. He was a follower of Ban>< -
cio, and well understood chiaro-scuro. His designs were sometimes
grand. S. Francis was one of the favorite subjects of this artist,
and one of the best of these pictures is in the Pitti Pal., where there
is also a " Christ walking on the Sea with Peter " and an " Ecee
Homo," which last merits much praise. In the Louvre there is a beau-
tiful " Flight into Egypt." Several of his works are in the churches
of Rome and Florence. He engraved the two following plates :
Mary Magdalene washing the feet of Christ :
The Conversion of S. Paul.
Cardisco, Marco, called II Calabrese. A Calabrian who flour-
ished from 1508 to 1542. Some of his works may be seen in tilt-
churches of Naples.
Carducci or Carducho, Bartolomeo, born at Florence, 15GO; died
at Madrid, 1608. A pupil of Zucearo, he went with him to Spain.
Carducho had also studied sculpture and architecture under Barto-
lomeo Ammanati at Florence, lie was employed by both Philip II.
and his successor. Henry IV. invited him to the court of France,
but he preferred to stay in Spain. Among his works at the Escorial,
the frescoes in the spaces between the bookcases aud the cornice of
the library are especially fine. The work which most established
his reputation was the " Descent from the Cross," painted for the
ch. of S. Felipe el Real. He was engaged in painting a gallery at tin-
Pal, of the Pardo at the time of his death. He was an imitator of
the antique. His drawing and coloring were good, and he was
fastidious to a fault, in his own ideas of excellence. He never felt as
if a picture was finished, and he declared that it was not the people that
he wished to please, but those who could judge of art.
Carducci or Carducho, Vincenzo, born at Florence, 15GSS; died
at Alcala de Ilenares, 1C38. Brother of Bartolomeo, who brought
him to Madrid in 1585. Vincenxo was accustomed to declare himself
more a Spaniard than an Italian. lie was instructed in painting by
his brother, and at his death was appointed to succeed him as painter
to the king. He had an inventive genius, and was not confined to
any one class of subjects. He had studied anatomy to good advan-
tage, and his pictures are vigorous in action, his draperies grand, and
CARDUCCI CAFvOTTO. 187
his coloring rich. In the National Mus. of Madrid are the pictures
which he painted for the Chartreuse of Paular. They number 54,
and he agreed to paint them in four years. Twenty-six of these
illustrate the life of S. Bruno; an equal number represent events in
the history of the order, and two are a combination of the arms of
the Royal House and those of the Carthusians. These works are a
wonderful monument to his industry and inventive powers. They
lose much of their effect from being seen in a museum. They Avere
intended for the lonely silence and gloomy shadows of a cloister, and
to speak to the hearts of those who lived in perpetual silence, to
whom the figures of these pictures became friends, and were to them
the only reminder of the mothers and sisters they had left, or, in
fact, of the existence of woman in the world. What is absurd to us
now, was venerable and lovely to them. The pictures of Carducho
are seen in most of the Castilian cities. In the Gall, of the Queen
of Spain, there are three pictures of a different order of subjects:
" The Taking of Rheinfelt," " The Relief of Constance," and " The
Victory at Florus." There is also a colossal study of a man's head,
which is very effective if viewed from a favorable position. Collec-
tors of sketches formerly esteemed those of Carducho very highly.
He also wrote a book of "Dialogues on Fainting," published in
1633. This book is very curious and rare. His portrait at the
Louvre, Gall. Espagn., No. 454, represents him as turning the leaves
of this book with one hand, and holding a pen in the other.
Cariano, Gio., born at Bergamo. Flourished early in the 16th
century. His chef-d'oeuvre was a " Madonna and Saints " painted
for the ch. of S. Gottardo in Bergamo, which was removed to the
Gall, of Milan, No. 113, during the French domination. He made a
fine reputation as a portrait painter. Several of his works remain in
Bergamo; Palazzo Borghese, Rome, Room IX., No. 32 ; Hermitage,
St. Petersburg!!, No. 116; Dresden Mus., No. 218 ; Berlin Mus., No.
188.
Carlevariis, Luca, born at Udina, 1665; died at Venice, 1729.
His pictures are little known out of Venice, and represent views of
that city and other sea-ports. His figures have spirit, but his color
is not good. He made 100 good etchings of views in Venice.
Carloni, Gio., born at Genoa (1590-1 6 3u). He studied under
Passignano at Florence, and became a good fresco painter, especially
remarkable for his fine coloring.
Carloni, Giambattista (1594-1680). Younger brother of the
preceding, with whom he studied under Passignano, and painted with
him afterwards. He was remarkable for his large family, having had
24 children by his wife Nicoletta Scorza. Three of his sons were
painters. The Cath. of Guastato at Genoa was the place where the
Carloni executed their best and most extensive works.
Carotto, Giaufrancesco, born at Verona (1470-1546). Out of
188 CAROTTO - CARRACCL
Verona his works are rare ; there they are in the churches and the
Palazzo del Consiglio. Mantegna was his teacher, but his works
more nearly imitate the manner of Leonardo. His drawing was
severe, his color warm and well blended. The " History of Tobias " in
S. Eufemia is an excellent series of pictures.
Carpaccio, Vittore. Flourished early in the IGth century. Kug-
ler calls him " the historical painter of the elder Venetian school."
His pictures represent daily life in Venice. The backgrounds have
landscape, architecture, etc., and his figures are numerous and full
of spirit, his color deep and powerful. Many of his works are in
the Acad. of Venice, among which are eight representing S. Ursula
and her 11,000 virgins. His pictures are also in the Venetian
churches, in the Brera, the Louvre, and the Berlin Gall.
Carpi, Ugo da. Flourished about 1510. Born at Rome.
Painter and engraver, but chiefly important on account of having
invented (as it is believed) that kind of wood-engraving which imi-
tates drawings, and is called chiaro-scuro. Bartsch gives o2 plates
by Carpi; they are mostly after the works of Raphael and Parmigi-
anino, and are spirited and masterly.
Carpi, Oirolamo, born at Ferrara (1501-1556 V). Pupil of Garo-
falo. Painted both in fresco and oil, and succeeded in portrait-. He
was also an architect and a decorative painter. Julius III. desired tn
have him superintend the Vatican buildings, but his rivals in Rome
so disturbed him that he returned to Ferrara.
Carpioni, Giulio, born at Venice 
